The Musical Dilettante

This is the first English translation of Johann Friedrich Daube’s Musical Dilettante: A Treatise on Composition (Vienna 1773). Written as a practical, comprehensive guide for aristocratic dilettantes wishing to compose instrumental chamber music for their social entertainment, the treatise covers genres from duets to double fugues, and includes the earliest instruction in string quartets and idiomatic orchestration of symphonies.

Daube’s Musical Dilettante has long been overlooked due to his better-known Thorough-Bass in Three Chords (1756). Nevertheless, Musical Dilettante is the keystone of Daube’s theoretical writing, and offers the most comprehensive view of galant composition available in a single volume. The signature of Musical Dilettante is its unique textural emphasis, and Daube’s examples sparkle with concertante interplay, conversational part-writing and idiomatic instrumentation. These features combine to create a volume which is not only a theoretical treatise but a record of the aesthetic and musical values of the day. The volume includes an introduction to Daube’s life and theoretical works and a bibliography.

C A M B R I D G E S T U D I E S I N M U S I C T H E O R Y

A N D A N A L Y S I S

G E N E R A L E D I T O R : I A N B E N T

T H E M U S I C A L D I L E T T A N T E :

A T R E A T I S E O N C O M P O S I T I O N B Y J . F. D A U B E

T IT L E S IN T H IS SE R IE S

Haydn’s “Farewell” Symphony and the Idea of Classical Style: James Webster

Ernst Kurth: Selected Workings: Lee A. Rothfarb

The Musical Dilettante: A Treatise on Composition byJ.F . Daube: Susan P. Snook-Luther

THE MUSICAL D IL E T T A N T E

A T R E A T I S E O N C O M P O S I T I O N B Y

J . F. D A U B E

Translated and edited by

Susan P. Snook-Luther

C a m b r i d g eU N IV E R S IT Y P R E S S

CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao Paulo

Cambridge University Press The Edinburgh Building, Cambridge CB2 2RU, UK

Published in the United States o f America by Cambridge University Press, New York

www.cambridge.org Information on this title: www.cambridge.org/9780521365642

© Cambridge University Press 1992

This publication is in copyright. Subject to statutory exception and to the provisions o f relevant collective licensing agreements,

no reproduction o f any part may take place without the written permission o f Cambridge University Press.

First published 1992 This digitally printed first paperback version 2006

A catalogue record for this publication is available from the British Library

Library o f Congress Cataloguing in Publication data

Daube, J. F. (Johann Friedrich), 1730-1797.[Musikalische Dilettant. English]

The Musical Dilettante: a Treatise on Composition / by J . F. Daube translated and edited by Susan P. Snook-Luther.

p. cm. - (Cambridge Studies in Music Theory and Analysis) Translation of: Der musikalische Dilettant.

Includes bibliographical references (p. ) and index.ISBN 0 521 36564 3 (hardback)

1. Composition (Music) 2. Music - Theory - 18th century.I. Snook-Luther, Susan P. (Susan Pauline), 1943- II. Title. III. Series.

M T40.D2313 1991 781.3 - dc20 90-25963 CIP MN

ISBN -13 978-0-521 -36564-2 hardback ISBN-10 0-521-36564-3 hardback

ISBN -13 978-0-521-03065-6 paperback ISBN-10 0-521-03065-X paperback

http://www.cambridge.org

http://www.cambridge.org/9780521365642

C O N T E N T S

Foreword by Ian Bent pageTranslator’s preface

Introduction Daube’s life and surroundings Daube’s theoretical works Daube’s The Musical Dilettante (1773): a synopsis

T h e M u s i c a l D i l e t t a n t e : a t r e a t i s e o n c o m p o s i t i o n ( 1773)

Preface

1 Harmony in general

2 The three different motions o f the voices

3 Combining two voices

4 Combining three voices

5 Combining four voices

6 Composition in five and more parts

7 Variation

8 Imitation

9 Canon

10 Simple fugue

1 1 Double counterpoint

12 Double fugue

BibliographyIndex

ixxi

11

917

3 i

35

3742

46

69

104

1 1 9

132

144

156

186

213

231

268

275

vii

F O R E W O R D BY IAN BENT

Theory and analysis are in one sense reciprocals: if analysis opens up a musical structure or style to inspection, inventorying its components, identifying its connective forces, providing a description adequate to some live experience, then theory generalizes from such data, predicting what the analyst w ill find in other cases within a given structural or stylistic orbit, devising systems by which other works - as yet unwritten - might be generated. Conversely, if theory intuits how musical systems operate, then analysis furnishes feedback to such imaginative intuitions, rendering them more insightful. In this sense, they are like two hemispheres that fit together to form a globe (or cerebrum!), functioning deductively as investigation and abstraction, inductively as hypothesis and verification, and in practice forming a chain o f alternating activities.

Professionally, on the other hand, “ theory” now denotes a whole subdiscipline o f the general field o f musicology. Analysis often appears to be a subordinate category within the larger activity o f theory. After all, there is theory that does not require analysis. Theorists may engage in building systems or formulating strategies for use by composers; and these almost by definition have no use for analysis. Others may conduct experimental research into the sound-materials o f music or the cognitive processes o f the human mind, to which analysis may be wholly inappropriate. And on the other hand, historians habitually use analysis as a tool for understanding the classes o f composition - repertories, “ outputs,” “ periods,” works, versions, sketches, and so forth - that they study. Professionally, then, our ideal image o f twin hemispheres is replaced by an intersection: an area that exists in common between two subdisciplines. Seen from this viewpoint, analysis reciprocates in two directions: with certain kinds o f theoretical enquiry, and with certain kinds o f historical enquiry. In the former case, analysis has tended to be used in rather orthodox modes, in the latter in a more eclectic fashion; but that does not mean that analysis in the service o f theory is necessarily more exact, more “ scientific,” than analysis in the service o f history.

The above epistemological excursion is by no means irrelevant to the present series. Cambridge Studies in Music Theory and Analysis is intended to present the work of theorists and o f analysts. It has been designed to include “ pure” theory - that is, theoretical formulation with a minimum of analytical exemplification; “ pure” analysis - that is, practical analysis with a minimum of theoretical underpinning; and writings that fall at points along the spectrum between the two extremes. In these capacities, it aims to illuminate music, as work and as process.

X Foreword by Ian Bent

However, theory and analysis are not the exclusive preserves o f the present day. As subjects in their own right, they are diachronic. The former is coeval with the very study of music itself, and extends far beyond the confines of Western culture; the latter, defined broadly, has several centuries o f past practice. Moreover, they have been dynamic, not static fields throughout their histories. Consequently, studying earlier music through the eyes o f its own contemporary theory helps us to escape (when we need to, not that we should make a dogma out o f it) from the preconceptions o f our own age. Studying earlier analyses does this too, and in a particularly sharply focused way; at the same time it gives us the opportunity to re-evaluate past analytical methods for present purposes, such as is happening currently, for example, with the long-despised methods o f hermeneutic analysis o f the late nineteenth century. The series thus includes editions and translations of major works o f past theory, and also studies in the history o f theory.

Heinrich Christoph Koch, nowadays more widely known than his older contemporary Johann Friedrich Daube, discusses in detail, in his Versuch einer Anleitung zur Composition o f 1782-93, the principal instrumental forms o f music, and quotes extensively from German orchestral and vocal music o f the 1760s and 1770s, at times even in open score. Yet he displays no apparent sensitivity to the quality o f sound that those pieces produced. He could quote 132 bars o f the Andantino o f Haydn’s Symphony No. 42, he could give in score ten bars o f a cantata by Scheinpflug using violin figuration alternating with oboes, he could quote the entire Grave section o f a French overture, and show no consciousness o f their sound-colours. B y contrast, Daube’s acute sensitivity to timbre, dynamic and attack, comes through right from the beginning. Thus, whereas Koch simply defines open-position chords, Daube advises that their effect is “ good on the organ, harpsichord, or piano, but still better when played by two violins and a violoncello.” Where Koch introduces the first-inversion chord purely in pitch terms, Daube shows it with the third played by cello sfz slurring to the root o f the next chord. Whereas Koch’s entire discussion o f harmony and counterpoint is conducted in monochrome, Daube’s is unfolded in the vivid sound-world o f mid-eighteenth-century flutes and oboes, horns, and strings.

In short, his is an awareness o f the sonic world o f music that we do not associate with eighteenth-century writing about music. We find it rarely before Antoine Reicha’s Cours de composition musicale, ou Traite complet et raisonne d’harmonie pratique, dating from c.1816-18, the last forty pages o f which offer us a miniature instrumentation manual under the title “ The Treatment o f Harmony within the Orchestra” ; and ultimately before Berlioz’s celebrated Grand traite d’instrumentation et d’orchestration modernes o f 1843.

In Daube’s Der musikalische Dilettant o f 1773 we find a down-to-earthness, an avoidance o f abstraction, an immediacy, which is a delight to read. Daube adopts a “ how-to-do-it” approach to composition that must have appealed to the readers o f his time, and affords us today some real insight into the late eighteenth-century Kapellmeister at work. O f most particular interest is the chapter “ Composition in five and more parts,” in which we learn how to employ sustained and moving lines simultaneously, how to fashion textures and distribute melodic motives, and how to blend strings with wind and brass, and how to deploy solo instruments.

T R A N S L A T O R ’S PREFACE

In translating J . F. Daube’s The Musical Dilettante: A Treatise on Composition (1773), my aim has been to provide an accurate rendering o f the author’s ideas, while preserving the clarity and fluency o f his prose.

Daube occasionally describes procedures and styles without using technical labels, since many o f the concepts presented antedate standardized terminology, i.e., quartet styles and fugal writing. This practice is reflected in the translation, although modern terms sometimes appear in square brackets and/or in footnotes for the sake o f brevity and clarification. In the same vein, and partly to preserve the original connotative value, descriptive German terms are often expressed literally, rather than by a more common foreign equivalent, i.e., “ der herrschende Akkord” as “ the ruling chord” rather than “ the tonic chord,” and “der Endigungston” as “ the ending tone” rather than “ the final, finalis, or tonic note.” (Also, Daube’s use o f “ die Note” always carries a rhythmic connotation, and is therefore translated as “ note,” to distinguish it from the more commonly used “ Ton,” which usually refers primarily to pitch.)

For insight into eighteenth-century shades o f meaning o f German words and musical terms, I have consulted Sulzer’s Allgemeine Theorie (1771, 1774), Koch’s Lexicon (1802), and Adelung’s Worterbuch (1796), among others. In cases in which the meaning o f an entire clause or section was ambiguous, I based my interpretation upon accompanying examples, or passages dealing with similar concepts in Daube’s other theoretical works.

In keeping with its accessible nature, the original Der Musikalische Dilettant contained no Latin terms, with the exception o f “ feste Gesang (Cantus firmus)” in the penultimate paragraph o f the book. Other foreign words were limited to Italian terms common in musical directives, i.e., “Allegro.” Since the present work is intended specifically for English-speaking readers, I have translated all foreign language quotations that occur in the introduction and footnotes to the text, citing - but not necessarily quoting - published English translations.

In editing Daube’s musical examples, the forms o f clef signs, sharps, rests and repeat signs have been modernized and dynamic markings standardized to /a n d p, etc. Brackets and braces have been added where needed and obvious printing errors in clef placement and key signatures have been corrected without editorial comment.

Triplet markings, added only where necessary for consistency within an example or for clarity or rhythmic intention, are indicated as editorial. Ambiguously placed slur markings have been interpreted in the light o f Daube’s usage in other instances. However, with a few indicated exceptions, obvious or apparent omissions o f articulation marks

xi

xii Translator’s preface

in recurring figures have been left as authentic reminders o f the difficulties and inconsistencies o f eighteenth-century moveable type. Likewise the internal repeat signs used for short passages - a frequent shorthand o f eighteenth-century printers - have been retained, thus preserving to some extent the appearance o f the original examples.

It gives me great satisfaction to introduce Daube’s The Musical Dilettante (1773) - an elegant artistic representative o f galant musical thought - to the English-speaking audience. W ith Daube I would say that “ at least we spared no time nor effort,” and hope that readers might find this work a “ valuable and enjoyable” guide to “ the purest pleasure in music.”

In publishing this work, I would like to express my appreciation to all the people who have generously shared with me their knowledge and skills over the years; despite the general nature o f this acknowledgment, I am keenly aware of their individual contributions.

O f those directly involved in this project, I am most indebted to Dr. Leonard G. Ratner, Professor Emeritus o f Music at Stanford University, for years o f rewarding study, for suggesting Daube’s Dilettante as my dissertation topic, and for many thought- provoking insights along the way.

I am also grateful to the late Dr. Imogene Horsley, formerly Associate Professor o f Music at Stanford University, for her careful reading o f my commentary and knowledgeable discussions o f fugal theory; and to Dr. Kurt Mueller-Vollmer, Professor of German Studies and Humanities at Stanford University, for his assistance with the translation and enlightening glimpses into German culture.

For facilitating my European research, thanks are offered to Dr. William Loran Crosten, Professor Emeritus o f Music and former Stanford University Music Department Chairman; Dr. Lincoln Moses, former Dean o f Graduate Studies at Stanford; Dr. Peter Frank, Curator o f Germanic Collections and Lecturer in German Studies at Stanford University; Dr. Robert Rosenzweig, former Vice Provost o f Stanford University; Dr. Franz Steiniger, Director o f the Department o f Printed Books, Austrian National Library, Vienna; Dr. Gunter Brosche, Director o f the Music Collection, Austrian National Library, Vienna; and Dr. Robert Munster o f the Music Division o f the Bavarian National Library, Munich.

I would also like to thank the staff o f the Stanford University Libraries, especially Mr. Edward E. Colby, Stanford Music Librarian (1949-78) and Lecturer in Music (1951-79) at Stanford University, for his generous help and expertise in the location o f materials needed for this project; Drs. Katharina and Momme Mommsen, Professor and Professor Emeritus o f German Literature at Stanford University; Elfie Wiesendanger, Assistant Curator o f Germanic Collections at Stanford University; Elizabeth Green, research librarian at Stanford University; the staff o f the University o f W yoming Library, particularly Joanna D. Orr, Dee Jewett, Elizabeth Latham, Paul B. Cors, Karen Lange and Betsy Porter; Beth Bartlett, Music Librarian at the University o f Mississippi; Marsha M . Parsons, Head Librarian, Fine Arts Library at the University o f Texas at Austin; Dr. Raymond van De Moortell, Curator o f the de Beilis Collection o f the California State

University System at San Francisco State, and Colomba Ghigliotti, Library Assistant; and Dr. Karl Kroeger, Associate Professor and Head o f the University o f Colorado Music Library at Boulder.

I am also grateful to Dr. Deborah Hayes, Associate Professor o f Music History at the University o f Colorado at Boulder, for encouraging me to pursue the publication of this work, and for providing various bibliographic details; Mr. Howard O. Allen o f my hometown o f Saratoga, California for a solid grounding in the German language at Campbell Union High School and for reading my preliminary translation; Fr. Theodore J . Rynes, SJ, Assistant Professor o f English at the University of Santa Clara, for his encouragement, perspective, and editorial advice; and Mrs. Jane Edwards o f San Jose, California for a cheerful, efficient application o f her typographical skills.

It has been a great pleasure to work with the editors at Cambridge University Press. I would especially like to thank Penny Souster and Ian Bent for bringing this work to publication and Ian Bent for his patient help and expert guidance during the process.

I would also like to thank my husband, Dr. David C . Snook-Luther, for sharing his computer skills, patiently extricating my Daube files from countless quagmires, and for his support o f my musicological efforts.

It is with profound and lasting gratitude that I dedicate this book - “our book” - to my parents, Davis W illiam Snook and Paulina Klaus Snook; only they can realize the magnitude o f their contributions to its completion.

Translator’s preface xiii

IN T R O D U C T I O N

D A U B E ’ S L I F E A N D S U R R O U N D I N G S

In 1773 Johann Friedrich Daube introduced to the musical society o f Vienna a unique and timely work, Der Musikalische Dilettant: eine Abhandlung der Komposition. This treatise on galant chamber music composition constitutes the keystone o f Daube’s theoretical writing. Yet its significance as an enlightening reflection o f galant tastes and techniques has not been widely recognized, due perhaps to the attention given his General-Baji in drey Accorden (1756), to confusion surrounding its identity as the second in a projected series o f four Dilettant publications, and to the relative obscurity o f its author in the history o f music theory.1

Daube’s awareness o f the latest musical trends and his uniquely practical approach to composition in the current style stem from his experience as a performer on lute and flute in some o f the foremost musical centers in the German-speaking lands - Berlin, Stuttgart-Ludwigsburg, Augsburg, and Vienna - where he worked among those who were influential in shaping musical styles and tastes.

The earliest document in which “ein Lautenist Taube” is mentioned, his official appointment in 1744 as chamber lutenist to Duke Karl Eugen von Wurttemburg (1728-93), establishes his former residence as Berlin, where Karl Eugen had been a pupil o f C . P. E. Bach at the court o f Frederick the Great. Although Daube’s musical activities in Berlin remain undocumented, circumstantial evidence points toward some connection with the court,2 where he may have performed at the royal opera house, or studied with Ernst Gottlieb Baron (1696-1760) and J . J . Quantz (1697-1773), eminent teachers of lute and flute respectively. Moreover, Daube was familiar with the accompaniment style o f “ Bach” (presumably C . P. E.), which he praises in his General-Baji, 3 and the gout-modeme designation o f his six published lute sonatas suggests the influence o f the French-speaking Berlin court.

1 A comparison o f articles on Daube in eighteenth-, nineteenth-, and twentieth-century lexica produces a bewildering

array o f biographical discrepancies and bibliographical contradictions. T he most accurate biographical information

available is found in Michael Karbaum , “ Das theoretische Werk Johann Friedrich Daubes.”

2 Reichert (M G G , vol. I ll , col. 27) and Buelow (The N ew Grove, vol. V, p. 253) state that Daube was a theorbist at

the Berlin court o f Frederick the Great at the age o f eleven. Karbaum, w ho searched the Berlin archives w ith no result,

feels that this assertion goes back to the above mentioned document, w hich, however, does not establish Daube’s

appointment or function at the court, nor his age (“ Das theoretische W erk,” p. 13). Reichert says that Daube was

born in 1733 and died in 1797 “ im 64. Lebensjahr,” but Karbaum , based on an obituary notice written by Daube on

the death o f his w ife, deduces that he was born “ before 1730 ” in the form er area o f Hessendarmstadt (ibid., pp 10 - 11) .

3 See p. 204, Eng. trans., pp. 259-60.

I

2 Introduction

The cosmopolitan Aujklarung atmosphere o f eighteenth-century Berlin was enthusiastically fostered by K ing Frederick, who invited to his court the most prominent writers and artists o f Europe. The city became known for the publication o f literary dialectics and musical criticism, and as a flourishing center o f musical performance. Regular musical activities included meetings o f the Friday Academy (one o f the first amateur chamber music organizations in Berlin), frequent opera productions reflecting Frederick’s preference for German composers, Italian singers, and French dancers,4 and court Abend- musiken featuring the monarch performing on the flute.

Am ong the principal musicians with whom Daube must have come into contact in Berlin were Quantz, the king’s flute teacher; C. P. E. Bach, the king’s accompanist; Karl Heinrich Graun (1704-57), Kapellmeister, whose works dominated the Berlin operatic scene; Johann Gottlieb Graun (1698-1771), concertmaster; Johann Friedrich Agricola (1720-74), composer and later director o f the opera; Christoph Nichelmann (1717-62), assistant to C . P. E. Bach; Franz Benda (1709-86), violinist; and lutenist Baron. The compositions o f this group included galant chamber music, Italian-style opera, keyboard pieces in the empfindsamer Stil, contrapuntal sacred music, and the solo songs o f the “ first Berlin school.” Whatever Daube’s position may have been in this milieu, there emerges in his later works an acquaintance with the rich variety o f musical styles and wide range o f aesthetic ideas which recalls the associations o f his Berlin years.

In 1744 the sixteen-year-old Prince Karl Eugen left Berlin to assume the title of Duke o f Wurttemburg at Stuttgart-Ludwigsburg, taking with him “einen Lautenisten Nahmens Taube.” 5 In July, soon after Karl Eugen’s coronation, Daube received his official appointment as chamber lutenist, and after 1750 he also became chamber flutist, a well- paid position which he held until May 1755. During this period Daube also found time to compose and write. In 1746 J . U. Haffner o f Nurnberg published Daube’s Op. 1, “ Six sonates pour le Luth dans le gout moderne,” 6 and by the summer o f 1754 Daube had completed his first theoretical work, Geneml-Baji in drey Accorden; this was published in 1756 with a dedication to Karl Eugen. It was also during this period, in 1746, that Daube married Susanna Margaretha Schubhart.7

In May 1755 Daube was suddenly dismissed from his position, possibly because of the gradual demise o f the lute, or possibly because o f the increasing importation of Italian musicians after Nicolo Jommelli (1714-74) became Karl Eugen’s Kapellmeister.8 The improbability o f reinstatement in either case might explain why Daube’s letters of petition to the duke stated not only his preference for musical employment, but also his secretarial qualifications and knowledge o f Latin, French, and Italian. In 1756, the year

4 H elm , Frederick the Great, p. 73.

5 From the Spezialdekret authorizing Daube’s appointment. Cited in Karbaum, “ Das theoretische W erk,” p. 20.

6 These sonatas are now missing, according to Hans Neemann in the forward to his edition o f Daube’s “ Trio in

D -M o ll fur Laute, Fltfte (Violine) und K lavier” in A lte Haus• uttd Kammer-musik mil Laute (1927). See also Heinrich

Lemacher, Handbuch der Hausmustk, p. 355.

7 Karbaum , “ Das theoretische W erk,” p. 21.

• Karbaum , “ D as theoretische W erk,” p. 22. See Abert, Jom m elli, p. 69.

Daube’s life and works 3

his General-BajS appeared in print, Daube obtained the poorly paid position o f second orchestral flutist, in which he remained until 1765.’

In many respects Karl Eugen’s musical establishment at the Wurttemburg court was modeled upon that o f Frederick the Great at Berlin. Like Frederick, the young duke was an enthusiastic dilettante musician, “ a good player on the harpsichord,” 10 who frequently participated in the musical activities o f his court; like Frederick, Karl Eugen constructed a magnificent building in which to stage theatrical works.

The theatre is immense, and is open at the back of the stage, where there is an amphitheatre, in the open air, which is sometimes filled with people, to produce effects in perspective; it is built, as are all the theatres which I had yet seen in Germany, upon the Italian model.11

The operatic productions given here likewise resembled those o f the corresponding Berlin repertory - music in the Italian style, usually performed by Italian singers and French dancers. Also, as in Berlin, there was an ample complement o f instrumentalists. In 1745 Daube was listed among thirty-one instrumentalists in the Kapelle which, during his tenure, almost doubled in size.12 The orchestra at Karl Eugen’s court became known as one o f the finest in Germany. Christian Friedrich Daniel Schubart (1739-91) described it as consisting o f “ the foremost virtuosos in the world.” 13 Am ong these were violinists Antonio Lolli (renowned for his technical ability), and Pietro Nardini (famous for his cantabile style). Although many o f Daube’s orchestral colleagues were also known for their compositions, the major works heard at court were those o f Karl Eugen’s current Kapellmeister, Giuseppe Antonio Brescianello (1744-51), and Ignaz Holzbauer o f Vienna (1751-3), w ho subsequently assumed a similar position in Mannheim. In 1753 Jommelli was appointed Kapellmeister at Stuttgart, and “ from this time on the musical taste o f this region became entirely italianized.” 14 Also heard were the ballet pantomimes o f Florian Deller (c. 1730-1774), composed for Karl Eugen’s famous French dancing master, Jean- Georges Noverre (1727-1810).

The italianate atmosphere o f the Stuttgart Hofkapelle is perhaps responsible for the pseudonym, “ Colom ba,” with which “ der lautenist Taube” signed some o f his compositions.15 (“ Colomba” and “ Taube” mean “ dove” in Italian and German respectively.) More subtle influences o f Daube’s twenty-one years in Stuttgart appear in his later works, especially in Der Musikalische Dilettant o f 1773. Daube’s absolute command of the chamber music idiom, his knowledge o f effective scoring, and familiarity with current stylistic traits (including the Italian cantabile and symphonic violin figuration), bespeak a rich and intensive musical experience gained through the interaction o f performance and composition. Certainly the musical environment o f the Wurttemberg court must have

9 Karbaum (“ Das theoretische W erk,” p. 23) says that no notice o f Daube’s reinstatement appeared in the Wurttemhur-

gischeti Staatshandbikhem until 1758.

10 Burney, Present State (2 /17 75), vol. I, p. 105; Musical Tours, ed. Scholes (1959), vol. II, p. 38.

11 Burney, Present State (2 /17 75), vol. I, p. 104; Musical Tours, ed. Scholes (1959), vol. II, p. 37.

12 Sittard, Geschichte (1890), vol. II, pp. 30, 58.

13 Schubart, Ideen (1806), p. 156.

14 Schubart, Ideen (1806), p. 150.

15 Pohlmann, Laute, p. 79.

4 Introduction

been stimulating. In 1772 Dr. Charles Burney wrote that “ the operas and musical establishments of [Karl Eugen], used, during the . . . direction o f Jommelli, to be the best and most splendid in Germany. . . ,” 16 Once again, as in Berlin, Daube was involved in the musical life o f a major European court at the very height o f its brilliance.

The year 1765 marked two important events in Daube’s life - the publication, once again by Haffner, o f his “ Sonata in F fur Cembalo” in Vol. X I of the Oeuvres melees,17 and his move from Stuttgart to Augsburg. The latter involved more than a mere change o f location. Until this time Daube had worked amid the court chamber music and operatic productions fostered by his royal patrons. The musical life o f Augsburg, however, was rooted in a long tradition o f Catholic church music and, more recently, o f Lutheran church music.

Ever since [Augsburg] became the residence of a bishop, church music has blossomed remarkably there. . . . For several centuries the vespers and choirs have been excellently appointed. Even now pieces from that venerable, ancient time, which completely satisfy the ear and heart of the connoisseur, are performed there. . . . As is well known, the reformation divided this city into two parts. . . . The Lutherans . . . ushered in the German church chorale with such fervour that it can be compared with the best German cities. Even today in the BarfiiBerkirche one hears this singing in its original purity.18

Catholic church music in Augsburg also impressed Burney during his visit o f 1772: “ The music o f the mass was in a good style; there was an agreeable mixture of ancient and modern. . . .” w - a striking comment, since the same criterion o f good style was advocated by Daube in Der Musikalische Dilettant o f 1773. Perhaps the Augsburg musical scene provided the opportunity for Daube, already well versed in the chamber and operatic styles, to assimilate also the ecclesiastical style, and thereby to achieve the balance betweens “ ancient and modern” which characterizes that work.

Daube’s move to Augsburg also represents the growing tendency o f German musicians to leave the relative security o f royal patronage in favor o f the independence and financial uncertainty o f the free-lance musician and writer. Fortunately, the latter third o f the century saw the development o f a commercial trend in music; a sharp rise in music publishing and journalistic activities, as well as an increasing number o f public concerts and an expansion o f the bourgeoisie dilettante market for instruments and instruction,20 provided new opportunities for native musicians.

Augsburg, in addition to being a center o f church music, was the seat o f an academy established by J . D. Herz and chartered by Emperor Franz I in 1753.21 From this group -

16 Burney, Present State (2/1775), vol. I, p. 100; Musical Tours, ed. Scholes (1959), vol. II, p. 36.

17 In Oeuvres melees contenant VI. sonates pour le clavecin de tant de plus celebres compositeurs . . . , Partie X I (Niirnberg:

Haffner, 1765). This series, published between 1755 and 1765, contains seventy-two sonatas in twelve volumes.

O ther composers represented include C . P. E . Bach, G . G. Krebs, L. M ozart, G. A . Scheibe, and G. C . Wagenseil

(R IS M , vol. II, pp. 2 7 1-2 ). For excerpts and discussion, see Lange, Beitrage, pp. 9 - 1 1 , 12 , 27, Anlage pp. 3, 5 -7 , 8, 27.

For a brief description, see N ew m an, Sonata in the Classic Era , p. 322.

18 Schubart, Ideen (1806), p. 2 11.

19 Burney, Present State (2/1775), vol. I, p. 1 17 ; Musical Tours, ed. Scholes (1959), vol. II, p. 42.

20 Gericke, Musikalienhandel, pp. 1 1 —15.

21 Karbaum, “ Das theoretische W erk,” p. 28.


which included such prominent members as Johann Christoph Gottsched (Leipzig), Johann Heinrich I (Kassel), Georg Sulzer (Berlin), and Johann Joachim Winckelmann (Rome) - Daube received a journalistic opportunity and the title o f “ Rath and erster Secretar der Kaiserlichen Franciscischen Akademie der freyen Kunste und Wissen- schaften.” 22 In all probability, Daube had previous contacts in Augsburg through his published lute sonatas, which had been sold there by the publishing firm o f J . J . Lotter.23 But his main contact with the Academy seems to have been Baron von Milkan, a gentleman associated with the Wurttemburg court, who was appointed Director generalis of the Academy in 1757 .24

About 1769 Daube’s work as a correspondent for the Augsburg Academy took him to Vienna, where he would spend the remaining twenty-eight years o f his life in another o f the great musical centers o f Europe.

Indeed, Vienna is so rich in composers, and incloses within its walls such a number of musicians of superior merit, that, it is but just to allow it to be, among German cities, the imperial seat of music, as well as of power.25

Thus Burney summed up his impressions o f the musical life of Vienna in 1772. His vivid descriptions paint a colorful picture o f the setting in which Daube produced the majority o f his theoretical works - Der Musikalische Dilettant: eine Wochenschrift / eine Abhandlung des Generalbaf.es ('1770/71), Der Musikalische Dilettant: eine Abhandlung der Komposition (1773), Beweis . . . gottesdienstliche Musik (1782), and Anleitung zur Erfindung der Melodie (1797/98).

After arriving in Vienna, Daube resided modestly in the Leopoldstadt. His address was “ Haus Nr. 145 zum Goldenes R6ssel” until the death o f his wife in 1790, and thereafter “ Hofriemerhaus Nr. 345” until his death, mentioned in a brief obituary in the Wiener Zeitung o f 30 September 1797.26

Although evidence o f Daube’s connection with the Augsburg Academy during this period is sparse, it is known that Der Musikalische Dilettant (1770) was advertised in the Augsburger Kunstzeitung,27 and that, about the same time, the Augsburg Academy became an outlet for the distribution o f the publications o f Johann Thomas Edler von Trattner (1717-98), the Viennese publisher of Der Musikalische Dilettant (1773). Moreover, in 1773 the Augsburg Akademiezeitung officially sought to merge with the Wiener Realzeitung and the related K . K . Anzeigen,2* for which Daube may have worked as a journalist.29

22 Karbaum, “ Das theoretische W erk,” p. 33. Reichert seems unconvinced that Daube actually lived in Augsburg,

despite his association w ith the academy (“ Daube,” M G G , vol. I ll , cols. 27-8).

23 Layer, Catalogus Musicus //, p. 22.

24 Karbaum, “ Das theoretische W erk,” p. 32. See F. Freude, “ D ie kaiserlich franciscischen Akademie der freien Kunste

und Wissenschaften in A ugsburg,” in Zs. d. historischen Vereitt fiir Schwaben und Neuburg, vol. X X X I V (1908), pp. iff.


26 Karbaum , “ Das theoretische W erk,” pp. 36, 45.

27 Freystatter, Zeitschriften, p. 19.

28 Karbaum , “ Das theoretische W erk,” pp. 34, 128. See Realzeitung, vol. I ll (1773), Prelim inary Announcement.

29 Karbaum (“ Das theoretische W erk,” pp. 34, 180) recognizes Daube’s hand in an article in the Anzeigen , vol. I l l / 48

(Vienna: von Ghelen, I Dec. 1773), pp. 382ff, entitled “ Gellertische Urtheile von der M usik,” which presents views

and opinions found in Daube’ s treatises. T he continuation, “ Von einiger Com ponisten,” deals w ith composers w ith

whose w orks he was familiar.

6 Introduction

The only tangible documentation of Daube’s activities in Vienna is provided by his publications and related notices, but circumstances surrounding several o f his works30 suggest that he continued to compose - not only in connection with his publications, but also, as was the custom, for specific occasions. Nor would Daube have neglected performance; a lute was among the few possessions he retained until his death.31 But we can only make an informed guess as to Daube’s position in the musical-social structure of the city.

The imperial court, center o f the Austro-Hungarian H oly Roman Empire, played an influential role in the cultivation o f music, encouraging operatic, sacred, and chamber music.

One o f the main musical positions at court was that of Kapellmeister, even though, due to war-related economic measures, the court band K . K . Hof- und Kammermusik had reached a low o f twenty members by 1772. In 1771 Kapellmeister Florian Gassman (1723-74) founded the Tonkiinstler Societdt, the oldest organized music association and first public concert institute in Vienna. Each year it presented two double concerts for the benefit o f widows and orphans o f Austrian musicians.32 Since the Hofkapelle formed the core o f the Tonkiinstler Societdt, the artistry o f the imperial musicians became available, on occasion, to the public. Also available a few years later were the popular Liebhaber Konzerte “ in der Mehlgrube” and “ im Augarten.” 33 However, important as these performances may have been in initiating public concerts in Vienna, they were, at the time, exceptional events.

Far more prevalent than public concerts were the Akademien for invited guests, given in the elegant residences o f the Viennese aristocracy. Hanslick compares the Tonkiinstler Societdt to the sun, around which revolved innumerable planets - the private Kapellen and dilettante gatherings of the nobility - but notes that the planets were the predominant force.34 Yet the musical activities o f the imperial court were emulated throughout Vienna. Many distinguished noblemen supported a Kapelle o f performers and composers, and required a constant supply o f galant entertainment music for Akademien, table music, birthday celebrations, serenades, etc. Other noblemen, acting as patrons on a more casual basis, occasionally ordered a composition or invited professional musicians to perform in their homes. Burney describes an after-dinner concert at which Haydn quartets were played by “ M . Startzler, . . . M . Ordonetz; count Briihl, . . . and M . Weigel.” 35

The inclusion of a titled performer in the above ensemble was not unusual, but rather indicative o f the fashion for dilettantism among the nobility, many o f whom studied an

30 N am ely, the six quartets to be noted below and a song (later included in Der Musikaltsche Dillettant o f 177 1) entitled

“ D er Trost des durchlauchtigst-kaiserlichen Hauses bey der hochsten Versammlung in W ien im Heumonate 1770.

Besungen von Hr. F. A . v. Raab: in die M usik gebracht von Hr. D aube.” Karbaum (‘ 'Das theoretische W erk,” p. 43)

thinks the reference is to a reunion o f the imperial fam ily in Ju ly 1770.

31 Karbaum, “ D as theoretische W erk,” p. 245.

32 H anslick, Geschichte (1869), pp. 6, 8.

33 Hanslick, Geschichte (1869), p. 69.

34 Hanslick, Geschichte (1869), p. 36.



instrument, voice, or even composition, and performed at the chamber music gatherings o f 61ite society. In this, too, they followed a royal example, for Empress Maria Theresia (1717-80) and her children all studied music with their own Hofklaviermeister, Georg Christoph Wagenseil (1715-77) and later Joseph Anton Steffan (1726-1800).

The whole imperial family is musical: the Emperor [Joseph, reigned 1765-90] perhaps just enough for a sovereign prince, that is, with sufficient hand, both on the violoncello and harpsichord, to amuse himself; and sufficient taste and judgement to hear, understand, and receive delight from others.36

Dilettante activities, spreading from the court throughout the nobility and bourgeoisie, flourished in late eighteenth-century Vienna with an enthusiasm unmatched in any other city. In 1782 Mozart wrote to his father that “ there are a crowd o f dilettantes here, and very good ones at that, both men and women. . . ,” 37 But whereas amateur musicians in most German-speaking areas organized into public Dilettantenvereine during the 1760s and 70s, the Viennese preferred to retain the more intimate Dilettantenkreise o f family and friends - a practice which made it difficult for a musician new to the city to become known.38 It was to this large but exclusive audience that Daube addressed his Dilettant treatises o f 1770 /7 1 and 1773.

Despite Daube’s publications and his ability to serve as a performer, composer, or teacher in the Dilettantenkreise, the only trace of evidence to link him with this sphere of activity is the dedication o f his last work, Anleitung zur Erfindung der Melodie (1797/98), to Herr Ignaz Grafen von Fuchs.

The warm tone o f Daube’s dedication, his reference to previous explanations o f composition and musical style, his statement that the Anleitung owed its existence mainly to the count, and his inclusion o f the count’s family in the closing salutation, all suggest that Daube was well acquainted with the family and may even have served as their music teacher. Moreover, the 20,000-item music library o f von Fuchs contained all of Daube’s theoretical works, plus a symphony and six quartets in manuscript,39 (perhaps written for one o f the count’s invitational Hausahendmusiken).

Despite the scarcity o f formal public concerts, the enjoyment o f music pervaded eighteenth-century Vienna. The imperial city resounded with music for all occasions, encompassing a wide variety o f styles and pervading all strata o f society. According to Johann Friedrich Reichardt (1752-1814) in 1783, “ The court cultivated music with a passion, the nobles were the most musical that perhaps there ever had been. The entire fun-loving populace took part in the joyous art . . .” m

From the streets one could hear military bands, dance music, garden divertimentos, and “ Wirthshaus” or “ Tafelmusik.” Burney reported that “ there was music every day,

36 Burney, Present State (2 /1775), vol. I, p. 257; Musical Tours, ed. Scholes (1959), vol. II, p. 88.

37 Bauer and Deutsch, Mozart: Briefe, vol. Ill, p. 208, Eng. trans., p. 804.

38 Hanslick, Geschichte (1869), pp. 68, 69.

39 Karbaum, “ Das theoretische W erk,” p. 42. See E . Schenk, “ Eine W iener M usiksam m lung der Beethoven-Zeit,” in

Festschrift Heinrich Besseler (Leipzig, 1962), pp. 377-88.

40 Hanslick, Geschichte (1869), p. 64. From “Autobiographien,” Allgetneine Musikalische Zeitung (1813), p. 141.

8 Introduction

during dinner . . . at the inn” where he stayed.41 Nocturnal serenades and impromptu music-making also were prevalent.

At night two of the poor scholars of this city sung, in the court of the inn where I lodged, duets . . . very well in tune, and with feeling and taste. . . . After this there was a band of these singers, who performed through the streets a kind of glees, in three and four parts: this whole country is certainly very musical. I frequently heard the soldiers upon guard, and centinels, as well as common people, sing in parts.42

Music o f a more formal nature was also available to everyone in church. Burney marveled at the abundance o f musical services.

. . . there is scarce a church or convent in Vienna, which has not every morning its mass in music . . . set in parts, and performed with voices, accompanied by at least three or four violins, a tenor and base, besides the organ; and as the churches here are daily crowded, this music . . . must, in some degree, form the ear of the inhabitants. . . . And it seems as if the national music of a country was good or bad, in proportion to that of its church service.*3

There are no records to link Daube directly with church music, but several aspects o f his pamphlet Beweis, daji die gottesdienstliche Musik (1782) would seem to indicate that his activities during his Vienna years, and perhaps earlier, may have included the composition and/or performance o f sacred music.

Nevertheless, the scanty documentation does suggest a shift o f emphasis in Daube’s activities during his Augsburg and Vienna years. W hile he continued to compose and - we can safely assume - to perform, his writing increased. The resulting lifetime of attainments encompassed many areas o f musical endeavor. As a performer, Daube’s experience included chamber, opera, and probably church styles. As a composer, he produced symphonies, solo songs, lute pieces, chamber music for many combinations, and possibly sacred music. And as an author, his surviving works (apart from his journalistic ventures) include treatises on several major topics in music theory - thorough-bass, composition, and melodic invention.

In the forward to his last work, Anleitung zur Erfnduttg der Melodie, dated 2 JanuaryI797 . during the apparent poverty of his later years, Daube spoke o f his adopted city with fondness and pride. He recognized the musical wealth around him and sketched the musical scene as he saw it near the end o f his twenty-eight years in Vienna.

Is Vienna not a genuine nursery, in which great men are raised? - To whom is Hayden unknown? To whom the exalted Mozard? The musicians Albrechtsberger, Bethoven, Bemucky, Eibler, Forster, Freystadtler, Gallus, Hoffmeister, Kletzinsky, Kozeluch, Kreith, Kromer, Mancini, Muller, W. Pohl, Schmid, Salieri, SiiBmayer, Tauber, Wanhal, Weigl, and many others.44 And one encounters so many virtuosos on diverse instruments! - Even among the fair sex there are some already skilled in composition, such as Mad. Auerhammer, the blind Fraule v. Paradies, Fraule v.

41 Burney, Present State (2/1775), vol. I, p. 335; Musical Tours, ed. Scholes (1959), vol. II, p. 114 .

42 Burney, Present State (2 /17 75), vol. I, pp. 225-6 ; Musical Tours, ed. Scholes (1959), vol. II, p. 78.

43 Burney, Present State (2/1775), vol. I, pp. 22 6 -7 ; Musical Tours, ed. Scholes (1959), vol. II, p. 78

44 [Daube:] Please pardon me, i f I have not included everyone according to his character. A m ong friends o f harmony,

no disharmony should have the upper hand! -

Daube’s theoretical works 9

Kurzbek, Mad. le Bret, Madem v. Meyer, Mad. le Comte, Mad. Beyer, etc. There are many very dexterous instrumentalists, on the fortepiano as well as on the violin and wind instruments, who moreover are mere dilettantes. And there is, so to say, almost an overabundance of professional virtuosos. - In all of Europe, it would be difficult to find such accuracy of performance, in the church, as well as at the opera and in chambers. - What then is the reason? No other, than that connoisseurs from the high nobility esteem the dedicated sons of music, especially when they perform with virtuosity (Virtu).

It seems fitting that Daube should have spent his last years in late eighteenth-century Vienna for, in the sequence o f residences throughout his life, he followed the shifting center o f musical gravity. Just as he had known Berlin at the height o f its musical splendor and experienced the musical flowering o f the Wurttemburg court, so also he witnessed an era o f unprecedented greatness in Vienna, “ the imperial seat o f music.”

D A U B E ’ S T H E O R E T I C A L W O R K S

General-BaG (1756)

Daube’s first treatise, Thorough-Bass in Three Chords, dedicated to Duke Karl Eugen von Wurttemburg, forms the harmonic basis o f his later theoretical works.

General-Baf / in drey Accordeti, / gegriindet / in den Regeln der alt- und neuen Autoren, / nebst einem hierauf gebauten Unterrkht: / wie man / aus einer jeden aufgegebenen Tonart, nur mit zwey Mittels- / Accorden, in eine von den drey und zwanzig Tonarten / die man begehret, gelangen kann, / und der / hierauf gegrundeten Kunst zu praludiren, / wie auch zu jeder Melodie einen B af zu setzen, / daf also / durch diese neue und leichte Anleitung, zugleich auch zur Composition / unmittelbar der Weg gebahnet wird / von / Johann Friedrich Daube, / Hochfurstlich-Wiirttembergischen Kammer-Musicus. / Leipzig 1756 / Verlegts Johann Benjamin Andra. / Buchhandler in Frankfurt am Mayn.

Shortly after Daube’s General-Baf appeared, it was severely criticized in the Historisch- Kritische Beytrage by Friedrich Wilhelm Marpurg (pseudonym Dr. Gemmel), who unjustly interpreted it as an inaccurate plagiarism o f Rameau’s system. His criticism, in a tone o f sarcasm and ridicule, was continued sporadically in the same periodical.45 Despite, or perhaps because of, the sharp-quilled Marpurg, the General-Baf became Daube’s best-known work. Copies are extant in widely scattered European libraries, and one was found among the books o f Haydn.44

Later writers, such as Francois-Joseph Fetis, have appreciated Daube’s simplification of methods. “ In spite o f Marpurg’s severe criticism, Daube’s works include some very fine things . . . [for] it was something to recall, in his time, that harmony has its simple elements.” 47 Hugo Riemann, who devoted several pages to a discussion o f Daube’s General-Baf, likewise reverses Marpurg’s verdict: “ Daube i s . . . more logical than Rameau

45 M arpurg, Historisch-Kritische Beytrage (1754-78), vol. II, pp. 325-66 , 4 6 4 -7 4 , 54 2-7 ; vol. I ll , pp. 465-86; vol. IV,

pp. 196 -24 6 .

46 Deutsch, “ Haydns M usikbucherei,” pp. 220 -2 1.

47 Fetis, Biographie uttiverselle (1883), p. 433.

10 Introduction

himself in carrying out the completely new theory o f the meaning o f the harmonies and in the attempt to actually succeed with a few basic concepts.” 48

The notion o f Daube’s dependence upon Rameau, begun by Marpurg, reappears in almost all later evaluations o f the General-Baji until that of Karbaum, who pointed out Marpurg’s interpretive blunders in an extensive commentary.49 That Daube’s “ drey Accorden” are invariably discussed in relation to Rameau’s three fundamental chords is not, in itself, surprising, considering Rameau’s dominant position in eighteenth- century harmonic theory and the similarity o f the chords themselves. W hat does seem strange is that Daube’s reply to Marpurg has consistently been overlooked, a very surprising oversight since it, too, was printed in the Historisch-Kritische Beytrage. Daube’s short, calmly worded letter includes the following passage:

He accuses me as though I had borrowed from the writings of Rameau, none of which was even available for me to read, except Demonstration iu principe de I’harmonie, which I obtained to look at for a few hours five years ago. Neither could I have had it sooner than the summer of 1754, when my work had already been submitted to the publisher.50

The interesting point now becomes - not whether Daube’s “drey Accorden” resembled Rameau’s three fundamental chords (they did), nor whether Daube borrowed from Rameau (he apparently did not), but rather the fact that it was possible for Daube to arrive independently and pragmatically at the same conclusions that Rameau had reached by theoretical speculation.51 The realization o f this possibility in Daube’s work signals a triumph for the galant ideal o f simplification (one facet o f the eighteenth-century concept o f natural law as an understandable and useful order), and thereby lends an extramusical validity to the codification o f the tonal system as a felicitous eighteenth- century achievement.

Der Musikalische Dilettant (17 7 0 /7 1)

The remainder o f Daube’s theoretical works were written and published in Vienna and, with the exception o f one short pamphlet, can be considered a comprehensive Musical Dilettante series.

The first to appear was a weekly periodical published by Kurtzbock during 1770 and 177 1. In the copy from the Musiksammlung der Osterreichischen Nationalbibliothek (Vienna), the two yearly volumes are bound together, with two title-pages at the beginning and another before the 177 1 portion. The fact that not all extant copies o f this work contain all three title-pages undoubtedly accounts for many o f the variants in bibliographical listings. The earliest title-page gives the following information:

48 Riem ann, Musiktheorie (1898), p. 489.

49 Karbaum , “ Das theoretische W erk,” pp. 4 7 -112 .

50 M arpurg, Historisch-Kritische Beytrage, vol. I l l (1757), pp. 6 9-70 .

51 T he difference between Ram eau’s speculative approach in 1722 and Daube’s practical approach in 1756 illustrates

the subtle shift in point o f view from rationalization to observation o f facts discussed by Becker in The Heavenly City,

pp. 2 1-2 .

Daube’s theoretical works ii

Der / Musikaltsche Dillettante / eine / Wochenschrift / Wien / gedruckt bey Joseph Kiirzbocken N. Oe. Landschafts- / und Universitatsbuchdruckem. / 1770.

The 177 1 title-page (when present) appears in front o f the original title-page and includes a subtitle.

Der / Musikaltsche Dillettant / eine / Abhandlung des Generalbasses / dutch alle 24 Tonarten, mit untermengten Opemarien, u. Solis, Duet- / ten und Trio fur die meisten Instrumenten, / von / Johann Friedrich Daube / Rath und erster Secretair / der kaiserl. Franciscischen Akademie der freyen / Kiinste und Wissenschaften in Wien / und Augsburg / Erster Band / Mit rom. Kaiserl. aller- gnadigstem Privilegio / Wien / gedruckt bey Joseph Kurtzbock K. K. illyrisch- und orientalischen Hof- wie auch N. Oe. / Landschafts- und Universitatsbuchdruckem. / 1771.

Another 1771 title-page, identical except for “ Zweyter Band,” marks the yearly division in some copies.

Neither title-page mentions that the periodical was meant to continue. But a notice in the K . K . Realzeitung in March 1771 makes it clear that future issues dealing with other subjects were planned.52 Nevertheless, the Kurtzbock publication was terminated that year, at the conclusion o f the discussion o f thorough-bass.

This useful musical work for beginners and connoisseurs of music contains not only a short, basic, and clear treatment of the origin, continuation, and growth of music, but chiefly a fundamental method in thorough-bass and composition . . . moreover it soon will deal with musical style and the invention of melody. Further, the amateur will find well-written musical pieces for the keyboard and other instruments . . ,53

The “ musikalische Stiicke” which comprise half o f each weekly issue have no relationship to the concurrent instruction in thorough-bass, which progresses systematically by keys, but are independent works for diverse combinations o f instruments and voices. Many are anonymous. Most can probably be attributed to Daube.54 Other composers represented include Daube’s Stuttgart colleagues Jommelli and Deller, the Neapolitans Baldassare Galuppi (1706-95) and Giuseppe Sarti (1729-1802), and the Viennese Wagen- seil, Joseph Starzer (1726-87), and Haydn.

The thorough-bass material presented in Der Musikalische Dilettant (1770/71) is essentially an abridged and simplified version o f General-Baji in drey Accorden. At the end of the General-Baji, Daube had mentioned that instruction in composition would follow “ in the second part.” N o sequel ensued. But fourteen years later, beginning what was intended to be a continuing Dilettant series, Daube needed to acquaint his new, Viennese audience with his theory o f thorough-bass. Then, with his harmonic basis established, he hoped again to proceed with the long-planned work on composition. Thus viewed, Der Musikalische Dilettant (1770/71) represents a second attempt to lay the preparatory groundwork for a comprehensive series.

52 It is listed am ong seven Germ an musical periodicals begun between 1761 and 1780 in Kirchner’s Die Grundlage des

deutschen Zeitschriftenwesens (vol. II, pp. 109 , 335).

w Kaiserlich Konigliche allergnadigst privilegirte Realzeitung der Wissenschaften, Kiinste und der Kommerzien, vol. 2 / 1 1

(Vienna: Kurtzbock, II March 177 1) , pp. 177-8 .

54 Karbaum , “ Das theoretische W erk,” p. 169, n. I.

12 Introduction

Daube’s treatise on composition finally materialized as

Der / Musikalische Dilettant: / eine / Ahhandlung der Komposition, / welche / nicht alleitt die neuesten Setzarten der zwo- drey- und mehrstimmigen Sachett; / sondem auch die meisteti kiinstlichen Gattungen der alten Kanons: der / einfachen und Doppelfugen, deutlich vortragt, und dutch ausgesuchte / Beyspiele erklaret. / Von / Johann Friederich Daube, / Rath und erster Seckretar der Kaiserl. Franciscischen Akademie der freyen / Kiinste und Wissenschaften in Wien und Augspurg. / Mit Rom. Kaiserl. allergnadigsten Privilegio. / W IEN, / gedruckt bey Johann Thomas Edlen von Trattnern, / kaiserl. konigl. Hofbuchdruckern und Buchhandlern. / 1773.

This book has often been confused with the earlier Dilettant, and in the article “ Daube” in Die Musik in Geschichte und Gegenwart, this subtitle is erroneously connected with the 1770 publication. There are three main points of distinction between the two works: the 1773 Dilettant deals with composition rather than thorough-bass; it originated as a book rather than a periodical; it was published by von Trattner rather than Kurtzbock.55

The publisher of The Musical Dilettante (1773), von Trattner, was one of the richest and most eminent commoners of Vienna. An orphan who gradually rose to the position o f court book dealer and book printer to Empress Maria Theresia, von Trattner printed and published more than any o f his predecessors and was the most important Viennese music dealer o f his time. Instead o f following the custom of depending on newspaper advertisements, von Trattner even put out his own catalog. For this reason the scarcity of his announcements in the Wienerisches Diarium gives a misleading picture of the wide scope o f his musical endeavors.56

Nevertheless, two notices about Daube’s Musical Dilettante (1773) did appear in the Wienerisches Diarium. In April 1773, von Trattner ran an elaborate announcement of his plan to extend the earlier work into a complete series.

Now since the first treatise on thorough-bass through all twenty-four keys has been recognized as good and useful in printed and written reviews, the author hopes that the following three treatises will gain similar approval. The first of these deals with composition. This art, which formerly . . . was very difficult, and could only be learned with much effort, is presented here in the easiest and clearest manner. The beginner is lead by the hand, as it were, from combining two intervals . . . to the greatest difficulties of composition. With each [step], he will find the reason for . . . everything he sets down: Why is it placed here? Why is it made up of these intervals rather than others? Essential for many! The following treatise will comprise musical style, considering melody, as well as harmony, in the high, middle, and low styles, through all kinds of pieces for church, opera, and chamber. Here examples by renowned composers will be presented and analyzed. The invention of all types of melody will be described in the last treatise. It will begin with the very shortest pieces and proceed to the longest. Later it also will show, easily and clearly, the expression of all human emotions (Affekten) through melody and harmony. And so, ultimately, one will discover a method by which even an older person can write with verve in the current taste.

55 Advertisements in the Wienerisches Diarium show that the Kurtzbock publication o f 17 7 0 /7 1 was still available

in January 1773, and that the von Trattner publication o f 1773 was still available in M ay 1775.

56 Gericke, MusikaHenhandel, pp. 6 8-71.

D er M usikalische D ilettant (17 7 3 )


The . . . [musical] examples . . . have made the work very costly. So, in order to make these three treatises available to the amateurs sooner, the author has joined with a society of able men who have agreed to have them printed by subscription. Thus, friends of music are informed that the society has decided to let them have these three volumes for a very reasonable price. . . ,57

From this announcement it can be seen that the projected series would have resulted in a total o f four Dilettant publications: the Kurtzbock periodical on thorough-bass (1770/71), the von Trattner treatise on composition (1773), a work on musical style, and a work on the invention o f melody. When the fourth treatise finally did appear in 1797/98, it was not published by von Trattner, nor identified as part o f the Dilettant series. But the correspondence between the contents o f this work as announced in 1773, and as published twenty-four years later, is so close that one can only conclude that it was completely planned, or even written, when the original announcement was made. This idea, in turn, suggests that the third Dilettant, the proposed work on musical style, might also have existed in nearly final form at this time, although no trace o f the work has yet come to light.

Regardless o f the fate o f the remainder o f the series, Daube’s 1773 treatise on composition was to have been the continuation o f an ambitious enterprise. To have given it an advance announcement in the Wienerisches Diarium, von Trattner must have regarded it as a major work o f considerable importance and current interest. A second notice, issued upon publication, listed its contents and advertised its step-by-step explanations of musical examples, stating, “ The method o f teaching is new, and amateurs will encounter much that they seek in vain in other musical writings.” 58 Six entire pages also were devoted to a review, which was full o f praise for Daube and his treatise.

The work announced in a special paper last spring, The Musical Dilettante by Johann Friedrich Daube, left the von Trattner press a few days ago. . . .

Since we [were] already familiar with the author through his previous publications, we eagerly perused his newly released work. We must say that basic principles and clarity prevail; even the very short Preface contains expressions and precepts which cannot be other than useful to amateurs and prospective composers. . . .

In our opinion, this treatise on composition can be very beneficial to beginners and amateurs of musical knowledge and also give experienced composers occasion for further reflection. We do not know of any author who has written so soundly, clearly, and concisely about music as the author of this work, as every musical scholar and lover of truth must attest.59

Despite the considerable publicity and initial acclaim which would seem to have assured The Musical Dilettante (1773) a secure position in musical literature, it soon fell into oblivion and was scarcely noticed for 200 years. The title appeared routinely in encyclopedia listings o f Daube’s works, but never received the critical attention given to his General-Baf.

57 Wienerisches Diarium von Staats, vermischten und gelehrten Neuigkeiten, N o. 33 (Vienna: von Ghelen, 1773), Ankun-

digung.

58 Wienerisches Diarium von Staats, vermischten und gelehrten Neuigkeiten, N o. 12 (Vienna: von Ghelen, 9 Feb. 1774)*

appendix.59 Kaiserlich Koniglich allergnddigst privilegirte Anzeigen aus sdmmtlichen kaiserl konigl. Erblandem, vol. I ll / 50 (Vienna;

von Ghelen, 15 Dec. 1773).

14 Introduction

The only modern commentaries on The Musical Dilettante (1773) are by Peter Benary and, more recently, by Michael Karbaum, who shares Benary’s views and expands upon his presentation. Benary expresses surprise that this work was overlooked for so long. Although he does not mention the well-known Marpurg criticism or bibliographical confusion as possible factors, he suggests another explanation for the dominance o f the General-Baji among Daube’s works.

The picture of Daube acquired from “ GeneralbaB in drey Accorden” undergoes such a fundamental modification, in the sense of enrichment, expansion, and progress, through this much less noticed work, that one involuntarily asks why it did not set the tone for the classification and estimation of Daube in the history of music. The handiest explanation for this may well lie in the fact that always, but above all since [Hugo] Riemann, the theory of composition has been pushed into the background by music theory in the narrower sense, thus essentially the theory of harmony, because that is easier to describe and represent.“

Benary considers The Musical Dilettante (1773) important, not only among Daube’s writings, but also as a work commensurate with those o f Daube’s well-known contemporaries. In his view, it is more “ advanced” than the composition treatises o f Johann Philipp Kirnberger (1721-83) and Johann Georg Albrechtsberger (1736-1809) - and even in the immediate vicinity o f the composition method of Heinrich Koch (1749-1816).61 After an extensive and enthusiastic review o f the section on the free style, Benary briefly discounts the contrapuntal section as being on a lower level, but concludes that

the “ Musical Dilettant” by Joh. Fr. Daube represents a highly significant theory of composition. In it the author of the work, “ GeneralbaB in drey Accorden” advances the limited boundaries of music theory to an actual compositional method. Theory is included only so far as it appears necessary for explaining certain specifics. The . . . fundamentally new position which Daube takes up may perhaps have become clear. Once again it appears that the great names which have gone down in music history frequently cause essentially more meaningful achievements of the so-called minor masters (Kleinmeister) to be obscured and forgotten. We venture to say that the significance of this work of Daube, which has remained almost unnoticed, cannot be emphasized enough.“

W ie die Leydenschaften

The year after the publication o f the Dilettant treatise on composition, in August 1774, the Frankfurter Anzeigen announced that Hessen-born “ Herr Taube, Secretar bey der Florentinischen musikalischen Societat,” 63 was preparing a work on the expression of the affects through music, and claimed that connoisseurs who had read the manuscript

60 Benary, Kompositionslehre, p. 133.



63 M eusel (Lexicon, vol. II, p. 288) states that he had held this position “ seit 176. . . .” N othing more is known o f this

association. However Karbaum (“ Das theoretische W erk,” p. 34) discovered that “ Herr Johann Baptista Rondinelli

Scarlatti, Secretair der beriihmten Florentinischen Akademie der freyen Kiinste” was welcomed as an honorary

member o f the Augsburg Academy in 17 7 0 , adding that whether this reception may perhaps represent a gesture o f

reciprocation remains a hypothesis.


had high praise for its author.64 Ten years later Johann Nikolaus Forkel (1749-1818) cited this notice without comment as to whether the work had achieved publication.65 N o copies, either published or in manuscript, have been found.

Karbaum speculates that this work would have been the missing part o f the Dilettant series, even though the announced subject o f the third volume was musical style rather than the affects.66 It does seem probable that Daube had written the entire series by this time. Moreover, the notice in the Frankfurter Anzeigen appeared about the time when the publication o f the third Dilettant might have been expected. But whether Daube changed the topic o f the third Dilettant in the series (indicating only one lost work), or whether he wrote an additional unrelated work, perhaps for a publication o f the Florentine Musical Academy (possibly indicating two lost works), remains unknown.

Beweis, daft die gottesdienstliche Musik (1782)

Daube’s next published work was a short pamphlet on church music, which until 1964 was mentioned in only one source - Der Portheimische Zettelkatalog, a private catalogue compiled by a Viennese gentleman who collected information on less well-known figures about whom he had read.67 He listed seven sources on Daube and two o f his works, the 1770 Dilettant and the Beweis. A copy of the latter finally came to light in 1964 in the Musikabteilung der Bayerischen Staatsbibliothek in Munich:

Beweis, / daf die gottesdienstliche Musik / von den allerdltesten Zeiten an, unter / alien Volkem des Erdbodens fortge- / wahret, und auch in Ewigkeit / dauem werde. / Von Daube. / Wien, / bey Joh. Ferd. Edlen von Schonfeld. / 1782.

Daube begins this work by extolling the virtues o f music, citing biblical examples of music for worship. After comparing the effectiveness o f music with that o f the sermon, and condemning the “ enemies” o f his art by means o f a quotation from “ Schakespear,” he criticizes the current use o f operatic melodies and secular dance styles in church music, musical settings unsuitable for texts o f meditation and worship, and poor performance of such pieces, implicitly giving preference to the conservative church style as appropriate for sacred music.6®

Daube expresses fear that such practices may lead to a disdain o f church music and a desire to abolish it. He argues against this possibility on biblical grounds, and on the basis o f Greek and Roman esteem o f music, concluding that, on the strength o f such a heritage, there is no doubt that “ the purest harmony o f music w ill continue with us into the next world, so that we may sing eternal offerings o f praise and thanksgiving.” 69

Having thus established his Beweis (“ proof” ) o f the continuance o f sacred music, Daube devotes the few remaining pages to his ideas for reform. He maintains that composers tire

64 Frankfurter Anzeigen, vol. V (August, 1774), p. 518. From Karbaum, “ Das theoretische W erk,” p. 155.

65 Forkel, Musikalischer Almanack (1784), p. 41.

66 Karbaum, “ D as theoretische W erk,” p. 207.

67 Der Portheimische Zettelkatalog, En try 464, Stadtsbibliothek Vienna.

68 Daube, Beweis, pp. 12 -13 .

69 Daube, Beweis, p. 18.

i6 Introduction

of repeatedly setting the Latin Mass, and suggests that, except on the highest holidays, it might be better to say a [low] Mass, followed immediately by a performance o f some church music on the text o f the Gospel o f the day. Since each Sunday or holiday requires a different text, composers would have ample opportunity to adorn the solemn service through the expression o f different affects.70 Church music o f this sort would be performed better, and create an enthusiasm leading to higher pay and greater opportunities for beginning and native musicians.71

The format Daube proposes - an opening Gospel verse set tutti or with four voices and instruments, followed by two recitative and aria pairs, a short recitative, and the conclusion, with an appropriate verse from a song presented tutti, “ whereupon the remaining verses might be sung by the entire congregation” 72 - resembles that o f the Protestant church cantata of northern Germany, where he spent his youth. Daube also volunteers to prepare a model o f both text and music. This offer - the only indication that he may have composed sacred music - holds forth the possibility that a church archive in Vienna may some day yield a cantata-like work by J . F. Daube.

Daube concludes that the musician’s required realm o f knowledge and ability is vast and that his endeavors should be appreciated rather than made more difficult. Just consider, he exclaims, how much talent, prolonged effort, opportunity, and money are required to become a true virtuoso! A t the English universities o f “ Oxfort und Kam- bridge,” where regular professors are appointed to teach music publicly, a doctor’s degree in music requires twelve years - longer than in any other field. The famed Handel was a doctor o f music. “ May any . . . hindrance to the progress o f such a protracted and difficult science be a remote [possibility]!” 73

Anleitung zur Erfindung der Melodie (1797/98)

Daube’s last work appeared under two different titles and was printed by several publishers. However, the content o f the various editions is identical. The Taubel edition in the Musiksammlung der Osterreichischen Nationalbibliothek contains a dedication to Herr Ignaz Grafen von Fuchs, which states that the Erfindung “ owes its existence mainly to you.”

Anleitung / zur / Erfindung der Melodie / und ihrer Fortsetzung. / von / Johann Friedrich Daube, / Rath und erster Secretair der von weyl. Kaiser Franz I. gestif- / teten Akademie der Wissen- schaften in Augsburg. / Erster Theil. / Mit Romisch- Kaiserlichem Privilegio. / Wien, 1797. / Gedruckt bey Christian Gottlob Taubel. Anleitung / zur / Erfindung der Melodie / und ihrer Fortsetzung. / von / Johann Friedrich Daube, / Rath und erster Secretair der von weyland Kaiser Franz I. / gestifteten Akademie der Wissenschaften in Augsburg. / Zweyter Theil, / welcher die Composition enthalt. / Mit Romisch- Kaiserlichem Privilegio. / Wien, 1798 / In Commission der Hochenleitterschen Buchhandlung. (Also, both volumes, Wien: J. Funk, 1798.)

70 Daube, Beweis, pp. 18-19 .

71 Daube, Beweis, pp. 20 -2 1.

72 Daube, Beweis, pp. 18-19 .

73 Daube, Beweis, pp. 2 1-2 .

The Musical Dilettante a synopsis 17

This work also appeared as

Anleitung zum Selhstunterricht in der musikalischen {Composition, sowohl fur die Instrumental- als Vocalmusik, 1. Tl. Von Eifndung der Melodie und ihrer Fortsetzung, 2. Tl. wekher die Composition enthiilt. - Wien: Schaumburg in Kommission, 1798 (both volumes). (Also, both volumes, Wien: Binz, 1798.) (Also, second volume only, Linz: Commission der Akademischen Buchhandlung,1798.)

Michael Karbaum describes the Erjindung as one o f the few attempts “ to integrate melodic instruction as a permanent component of a compositional system.” 74 A detailed listing o f the contents is found in works by Ernst Ludwig Gerber (1746-1819)75 and Carl Ferdinand Becker (1804-77).76 Gerber also gives his appraisal o f Daube’s Erjindung: “ Remarkably full o f good quality and practical value! . . . indeed the discovery and organization o f all these compositional ideas and aids bring honor to the insight and discernment o f the author. . . .” 77

As discussed above, this book was to have been the fourth work in the Dilettant series. Although the first volume did not appear until the year o f Daube’s death, and the second volume posthumously, it was probably written much earlier - perhaps between 1770 and 1773 - when the series was announced. Karbaum notes that while it has the distinction o f being the last theoretical work published in eighteenth-century Vienna, its style and approach are more representative of the 1770s.78

The Musical Dilettante (1773) contains several references to future instruction in the invention o f melody, and at one point79 Daube gives “ the amateurs a little foretaste o f what we promised about the invention o f melody at the beginning of this w ork” (i.e., this series). Although no separate section on melody is included in the 1773 treatise, Daube does touch on several aspects o f melodic invention and variation within the broader compositional context, just as he had done in the context o f thorough-bass. In the Erjindung der Melodie, with attention directed specifically toward the melodic element, Daube expands and develops these ideas in a manner totally consistent with his earlier works, and thus brings his comprehensive Dilettant series to a conclusion.

D A U B E ’ S T H E M U S I C A L D I L E T T A N T E ( 1 7 7 3 ) : A S Y N O P S I S

W hen Daube’s Musical Dilettante appeared in Vienna in 1773, the dilettante was a familiar figure on the musical scene, and a profusion o f musical activities flourished among royalty and bourgeoisie. Thus the title calls to mind a cultural phenomenon o f Enlightenment Europe and raises expectations o f a dedication honoring a noble dilettante patron. But Daube, publishing by subscription, simply addresses “ the reader,” and sets forth his


75 Gerber, Neues Lexikoti (18 12-14), vol. II, pp. 851-2.

76 Becker, Darstellung (1836), p. 449.

77 Gerber, Lexikott, p. 853.


79 See pp. 28-9 , Eng. trans., pp. 58-9.

i8 Introduction

intention “ to present this knowledge in the clearest and easiest way, so that the dilettante might be able to use it for his enjoyment.”

“ Dilettante” derives from the Italian “dilettare,” meaning to enjoy oneself or to take delight in something80 and refers to “ a person who practices singing or an instrument for pleasure, without making music their main occupation, or supporting themselves through this activity.” 81 Therefore dilettantes, even those who attained a “ professional” proficiency, stood in contrast to professional “ musicians,” many o f whom earned their livelihood working as composers, performers, and teachers for noble dilettantes, whose status, affluence, and leisure enabled them to cultivate music purely for their delight and edification.

The Enlightenment dilettante, with a “cultivated enjoyment o f leisure,” might be interpreted as the “ Renaissance man” in eighteenth-century guise.82 Enlightenment humanists shared the Renaissance view that man, in his perfection, could rise above the necessities o f life to distinctively human pursuits. Optimistically, they believed that the means to human perfection lay in efforts to rationalize and understand every branch o f knowledge, simplified and related through common principles o f nature.83 Their “ objective was to bring enlightenment to the Liebhaber, the dilettante, the man o f taste . . . [who,] in the eighteenth century, was prone to be a man o f culture with wide intellectual interests. . . .’ ,84

Seen in this context, Daube’s Musical Dilettante (1773) exemplifies the humanistic attempt “ to bring enlightenment to . . . the dilettante.” Its suitability for this purpose is seen in Daube’s emphasis on galant chamber music and concertante part-writing. O f the three functional styles recognized by eighteenth-century theorists - church, chamber, and theater - Meinrad Spiess equates the chamber style with the galant.

Chamber music, also called galanterie-music, takes its name from the rooms and salons of the nobility, where it is usually performed. Whoever looks for delight, artifice, invention, art, taste, affection (tendresse) will find them all in the so-called Concerti Grossi, Sonatas da Camera, etc. in which

80 Daube’s choice o f Der Musikalische Dilettant for his title, rather than the German “ Liebhaber” (sometimes used in

the text), suggests both the pleasure o f studying music and the strong Italian influence in the southern part o f

the Germ an-speaking countries - a verbal hint confirmed by certain Italian musical style traits w ithin the w ork itself.

N either Adelung’s Worterhuch (Leipzig, 1796), nor Sulzer’s Allgemeine Theorie (Leipzig, 17 7 1-4 ) contain an entry

for “ D ilettant.” But according to Adelung, “ the Liebhaber, Ital. Dilettante, is one w ho has an excellent taste for fine

arts and artworks w ithout being an artist himself. N ot all amateurs (Liebhaber) are also connoisseurs (Kenner)”

(Worterbuch, vol. II, col. 261).

81 Koch, “ D ilettant,” Lexicon, (1802), col. 431.

82 In some ways the eighteenth-century dilettante recalls the universally educated uomo universale or donna universale o f

the Renaissance. Seeking to prove the propriety o f musical study, sixteenth-century humanists had appealed to the

authority o f Aristotle, w ho distinguished between “ liberal and illiberal occupations” , (i.e., those fit and those unfit

for a freeman). T he artes liberales, according to Aristotle, are not animal necessities, but are peculiar to the imagination

and emotions o f man. “ Valuable in themselves,” they are pursued for the sake o f know ing how “ to guide our leisure,”

which “ offers . . . the very jo y o f liv ing .” Because music has an intrinsic value in “ the cultivated enjoyment o f leisure,”

it attains to this higher category o f study proper for a freeman (in Aristotle: Selections, Eng. trans., Philip W heelw right,

pp. 2 8 5 -7)-

w These idealistic pursuits were encouraged by humanist philosophers such as Lessing, w ho held that a person’s

nobility or worth lay in their striving for truth (“ Eine D up lik ,” Samtliche Schriften, vol. X III (1897), pp. 23-4).84 Duckies, “ Johann Adam H iller’s ‘Critical Prospectus for a M usic L ibrary’ ,” pp. 177-8 .


one cannot fail entirely to be pleased to hear all the high, middle, and low voices concert with each other, imitate each other, and compete for attention, all with neatness and zest.85

Kirnberger likewise says that “ since chamber music is for connoisseurs and amateurs, pieces can be written in a more learned and artificial manner than those intended for

public use, where everything must be more simple and cantabile, so that everyone will grasp it .” 86 Both Spiess and Kirnberger corroborate Daube’s inclusion o f strict-style techniques within a galant context, where “concerting” voices reflect the polite dialogues o f elegant society. Other features making Daube’s works especially suitable for dilettantes are his simplification o f harmony, limitation o f variation figures, workable formulae for constructing canons, clear explanations o f numerous musical examples, and occasional references to other disciplines. Moreover, Daube’s lucid, methodical approach contributes greatly to the ease and pleasure o f composition, as he leads the dilettante “ an der Hand” 87 through modern galant or free-style part-writing from two voices to chamber symphonies, and older ecclesiastical or strict-style techniques from canon to fugue.

The opening chapter, “ Harmony in general,” immediately reveals the unique textural signature o f The Musical Dilettante. Contrary to expectations, Daube does not review his harmonic system, but considers the multifarious effects o f various textures, inversions, scorings, timbres, instrumentations, voicings, and dynamics, which w ill be interwoven into the compositional process. It soon becomes apparent that Daube’s “ Harmonie” indicates not only a specific chord or chords, but also the vertical structure in both the chordal and textural sense - thus harmonization, texture, or sound in general. Although Daube advocates clarity and variety, he is not concerned with an adjectival catalog of textural possibilities. Rather, his purpose seems to be to awaken a wide spectrum of sound concepts in his readers’ memories, and to encourage them to approach composition by imagining the aural dimension o f music beyond the Dilettante's printed pages. Thus Daube at once asserts the validity o f the ear in composition and corroborates his belief that the final aim of music is to please the ear and move the soul through the expression o f the affects. The best harmonization o f a melody, he concludes, “complements the expression o f [its] affects. . . .” He then moves on, expecting the dilettante to be familiar with chordal harmony from his earlier works.

In General-Bafi in drey Accorden (1756) and Der Musikalische Dilettant (1770/71), Daube recognizes three chords as the basis o f harmony. He believes that the many other combinations o f tones arise “ from the retention and anticipation o f one or several intervals of the three main chords.” 88

Daube’s “ first” or “ ruling chord” 89 refers to the major or minor triad built on the first degree o f the scale.

85 Tractatus Musicus (1746), pp. l6 lff, Eng. trans. in Ratner, Classic Music, p. 7.

86 Sulzer, “ Cam m erm usik,” Allgemeine Theorie, vol. I (177 1) , p. 189.

87 Wienerisches Diarium von Staats, vermischten und gelehrten Neuigkeiten, N o. 33 (Vienna: von Ghelen, 1773),

Ankundigung.

88 For critical commentaries on Daube’s harmonic system see Karbaum, “ Das theoretische W erk” ; Benary, Kompositions-

lehre; R iem ann, Geschichte; and Shirlaw, Theory.

89 T his appellation is reminiscent o f RiepePs picturesque designations o f scale tones as positions in the social hierarchy.

T he tonic, for instance, is the master-farmer (“ der M eyer” ) and the dominant is the chief farm-hand (“ der Ober-

knecht” ) (Anfangsgriinde, vol. II (1755), p. 65).

20 Introduction

His “ second chord,” the iif, is built upon the fourth scale degree. Although it corresponds to Rameau’s controversial “ chord o f the fourth degree” or “chord o f the added sixth,” Daube is more consistent about the structure o f this chord than Rameau, who retains the triad plus “ added sixth” above the fourth scale degree, and the chord built in thirds upon the second degree, as equal alternatives. This flexibility is reflected in Rameau’s theory o f “ double emploi,” whereby the root of the ii* may be either the second or fourth scale degree - whichever provides the stronger fundamental bass (root movement by fourths or fifths) to the following chord.90 The resulting choice o f a strong fundamental bass from ii* to either V or I is foreign to Daube’s system, since, in the “ natural order” o f his three-chord progression, the second chord normally moves to the third chord (V), rather than to the first.91

Daube’s “ third chord” is the V 7. Although built upon the fifth scale degree, Daube considers the essential element to be the seventh scale degree, the “ main indicator o f the key.” The dissonant seventh o f the chord is optional, as is the dissonance o f the second chord, “ written only when it repeats the preceding tone,” as, in C major for example, the C in the second chord and F in the third chord.92 The third chord leads back to the first, which “ should naturally follow the third chord . . . [although] the rules o f art may permit a partially similar chord to follow instead.”

Daube also recognizes two derivative chords involving chromatic alterations. The “chromatic chord” (augmented sixth) is derived from “combining the intervals o f two keys.” As the enharmonic equivalent o f a third chord outside the key, it can be used for distant modulations. Seldom used by earlier composers, this chord now occurs occasionally “ in the middle o f a piece” and, like the diminished seventh, quite often in recitative.

Currently, says Daube, the diminished seventh chord also is granted “civic rights” in all minor keys. Combined from the second and third chords, it may take the place o f the third chord, except in cadences. Since it, too, can wear the enharmonic “ mask,” it is convenient for effecting modulations.

In The Musical Dilettante (1773) Daube usually modulates by chromatically altering a harmony which is “ partially similar” to a new third chord, since “ the new third chord must precede the first chord in that key . . . at least the main indication o f the key must be there, namely the new sharp.” The “double meaning” of this altered chord (secondary dominant), “ which can be seen from two points o f view,” refers to its shift o f function within the three-chord progression as it is chromatically altered and repositioned in a new key.

Daube’s chords retain their identity in any arrangement o f their tones, i.e., inversion. Like Rameau, Daube emphasizes the position or function o f the chord in the key, rather than the interval figures above a given bass note, as the means o f identifying chords. Kirnberger represents a more conservative approach. Although he often speaks o f chords

90 Ram eau discusses this concept in chap. 9, “ O rigine de la Dissonance Harmonique, & de son double em ploi,” et infra,

o f his Generation harmonique.

91 See p. 62 and n. 36 to text.

92 In The Musical Dilettante (1773), Daube’s only references to the preparation o f dissonance are made in regard to the

bass part. H is soprano lines, in keeping w ith the precepts o f the free style, contain numerous examples o f dissonances

approached by leap. Com pare Kirnberger, Kunst, vol. I (177 1) , pp. 80-90, Eng. trans., pp. 99-108.


in terms o f their key position, and explains their derivation by inversion, he classifies them by figured-bass numerals, thus giving the inversion intervals priority over the position o f the root in the scale o f the key.*3

In an era when the harmonic foundation o f thorough-bass was being replaced by treble-dominated textures and clearer key definition, Daube’s system reduces the “ frightening” profusion o f interval-combination “chords” above an actual figured bass (as well as Rameau’s root-defined chords above an abstract fundamental bass) to a minimal progression o f three chords, which owe their existence less to a dominating bass line than to the newer concept o f harmonic function. Despite ornamental tones and incomplete harmonies, each o f Daube’s chords retains its integrity as long as it carries out its appropriate harmonic function. This built-in flexibility o f a standardized formula provides for harmonic diversity without obscuring the basic progression, since it underlines the invariable, function-bearing representative o f each chord.

In distilling Daube’s three chords to their functional essence, the first chord is represented by the first degree o f the scale; the second chord by the fourth degree, upon which it is built; and the third chord by the seventh degree, the “ main indicator o f the key.” 94 Therefore the tones i, 4, and 7 o f the scale constitute the invariable and essential components o f Daube’s three chords, which, in turn, embody the three functions of cadential harmony.95

The beauty and timeliness o f Daube’s harmonic system lie in its practical manifestation of the “classic” ideals o f clarity and simplicity; at a time when most theorists still were entangled in a web o f thorough-bass figures, Daube recognizes the functional component as the essence o f each chord, and identifies ornamental tones and chromatic alterations as “ artificial” variants o f a simple, “ natural,” three-chord progression.

Daube enriches his definitions o f “ The three motions” (Chapter 2) with practical advice and the aesthetic concepts o f art and nature. Parallel motion, due to its simplicity and spontaneity, is most natural. It enhances “delicately singing passages” in church, opera, and chamber styles. Contrary motion, with its greater complexity and intervallic variety, “ was engendered by art and established by practical usage.” It prevents mistakes and gives rise to beautiful melodic motives. In oblique motion “ nature and art play an equal part.” An embellishment o f harmony, “ the most magnificent symphonies are impressively adorned with it when the wind instruments have sustained tones.”

Introducing free-style part-writing with “ Combining two voices” (Chapter 3), Daube addresses the preliminaries o f setting a good second voice to a given melody. He distinguishes between composition for two equal voices, similar in range, contour, and rhythmic motion, and composition for melody with bass, in which bass melodies and non-chord tones create an aesthetically complementary, but distinct part.

93 Kirnberger, Kunst, vol. I (177 1) , pp. 34-80, Eng. trans. pp. 54-98.

94 Daube does not use cognates or translated equivalents o f Ram eau’s terms - “ notte sensible,” “ tonique,” “ dominante-

tonique,” “ quatrieme notte” (Traite, 1722), and “ sousdominante” (Nouveau Systeme, 1726) - nor (as discussed above)

were his “ three chords” derived from those o f Rameau.

95 T h e functional nature o f Daube’s harmonic system corroborates the research o f Leonard Ratner, w ho applies the

“ 1 - 4 - 7 - 1 ” approach to cadential harmony in Harmony: Structure and Style.

22 Introduction

Daube explains that melody tones comprise “essential tones to which the other voice must be set” (i.e., chord tones) and tones which “ are given no bass or separate harmony” (i.e., non-chord tones). O f the latter, those on the beat are appoggiaturas, those after the beat are passing tones.

Using the three chords as a frame o f reference, Daube discusses the harmonization o f “ essential tones,” recognition o f non-chord tones, voice-leading, bass melodies, cadence formation, interpretation o f ambiguous accidentals, key relationships, and simple modulations. He recommends the natural “ succession o f the three chords, except when the melody occasionally requires that the second chord be omitted. . . ,” or when a 7-6 descent in the melody requires parallel sixths or thirds, a progression which provides variety o f motion.

Interesting with regard to the transitional era which it represents, is the rapprochement Daube effects between the contrapuntal and harmonic methods o f teaching composition. The harmonic approach is clearly evident in his three-chord system and classification o f non-chord tones according to their arsic or thetic rhythmic positions.96 The contrapuntal method is apparent in his progression from two to many voices in the tradition of Fux’s Gradus ad Pamassum (1725), and by traces of the progressive rhythms o f species counterpoint in his two-part examples.97

Eighteenth-century theorists disagree about beginning composition instruction with two voices.98 Kirnberger objects that without a background of four-voice writing, one would not know which tones could be omitted. Taking Daube’s perspective, however, the question turns from the omission o f chord tones from a four-part context, to the selection o f chord tones from a simple harmonic pattern - his three-chord progression - the functions o f which can be represented by few voices or many. “ The main harmonic framework,” says Daube, “ depends upon three-part composition.” Therefore, whoever masters “ Combining three voices” (Chapter 4), will “ find it easy to construct a harmony o f many voices.”

Daube divides three-part composition into the natural style, based on simplicity of all musical elements, and the artificial style, which incorporates variety through the complexities o f art. Harmonically, the natural style is characterized by a restriction to the three chords; texturally, by the differing roles o f the three voices.

For the natural style, and for “ singing” passages in the artificial style, Daube favors a flowing, “ spontaneous,” cantabile melody. The bass follows the tonal implications of the melody and complements its rhythmic motion, using passing tones “ to always promote the singing style.” Last to be written, the middle voice “ neither ascends above [the first], nor introduces anything concerting or imitative, but simply proceeds with the bass according to the rules o f harmony.” Sometimes it parallels the upper voice in thirds or sixths, despite the incomplete harmonies which occasionally result.99

96 See n. 26 to text.


98 Those w ho favor beginning w ith two parts include Fux (Gradus, 1725), M arpurg (Abhandlung, 1753-4), Padre Martini

(Esemplare, 1774 -5 ) , an^ the Rev. John Trydell, whose Two Essays form the basis o f “ M usick,” Encyclopaedia Britannica

(17 7 1) . Those opposed include Rameau (Traite, 1722), J . A . P. Schulz (“ Zweistim m ig. (M usik.)” in Sulzer, Allgemeine

Theorie, vol. II (1774)), and Kirnberger (Kunst, 177 1-9 ).



In Daube’s artificial category, nature and art are combined “ to please the greatest number o f listeners.” Harmonically, the artificial style uses more chromaticism, artificial ties, and foreign resolutions (i.e., resolutions containing accidentals “ foreign” to the key). Texturally, the voices are more equal. A hierarchy in which the main melody “constantly asserts its authority” is replaced by mutual accommodation, often involving “ the exchange o f motives between voices, so that sometimes one and sometimes the other has the most prominent role.” Such concerting may comprise a non-imitative dialogue, or may include voice-crossing and imitation. The latter creates a more polyphonic texture, which Daube associates with the “ so-called sonatas a tre, in which . . . the bass often plays a melodic m otif from the upper voices.” But, cautions Daube, such repeated phrases should contain something bright, lively, playful, skipping, distinctive, pleasant, singable, or brilliant.

Daube’s frequent juxtaposition o f singing and brilliant styles within the “ beautiful continuity” o f the melody represents the galant taste for “ something new and unexpected.” Daube heightens these surprises by giving the singing style a “ delicate piano” with “ thin accompaniment,” and the brilliant style an “ intense forte" with “ vigorous movement” in the accompaniment.

Such contrasts also emphasize “ beautiful symmetry,” 100 or “ good division o f the main melody” (i.e., overall form) which requires that phrases contain an even number of measures, and that a passage heard in the first half of a piece recur in the second.101 The symmetry o f phrases and sections should be clearly articulated by changes in texture, as well as style and dynamics, since “continuously full harmony is not pleasing to the ear.” Thus texture is a primary agent to vary sound, clarify style, and delineate structure. Having established these basic structural principles, Daube subsequently applies them to quartets and chamber symphonies.

The eighteenth century witnessed a transition from the solo and trio sonata to the string quartet as the prevalent chamber-music ensemble. But despite the growing popularity o f the quartet, most treatises still dealt with four-part textures in the context o f either counterpoint and fugue or thorough-bass realization. In “ Combining four voices” (Chapter 5), however, Daube steps over the threshold into the realm o f free-style string quartet composition. This was a new frontier in music theory.

Discussing the natural style, Daube concentrates on the new member o f the ensemble - the viola - in relation to the other voices. Its role as a replacement for the harpsichord in the trio sonata is apparent in its assignment to those “ tones which are still left after three voices have been composed. . . . ” The viola may never ascend above the upper voice, but should have a good melodic line even at the expense o f an occasional incomplete harmony. It often doubles the bass, especially at the beginnings and ends o f phrases.

The artificial style incorporates “ ties, imitations, modulations . . . and all the special alternations [of style and texture] encountered in three-part composition.” Here a more sophisticated viola part is included as an integral member o f the ensemble, and “can contribute greatly to the enhancement . . . o f a piece . . . ” through imitative phrases, concerting parts, or as a high bass.

100 See pp. 97-8.


24 Introduction

Daube describes several types o f quartets: those with the first voice in the brilliant style against a simple harmonic background, those with the melody divided between two voices while the others accompany, and those with all four voices concerting among themselves.102

Many characteristics o f Daube’s “ four-part scores” suggest the quatuor concertant repertoire. These include “ a harmonic vocabulary of mainly primary chords, which accommodates . . . textural and melodic action - often brilliance. . . a melodic style frequently drawn from concerto and Italian opera (corresponding to Daube’s brilliant and singing styles), predominantly symmetrical phrase structure, and part-writing in which “ dialogue is the main textural stance.” 103

Daube also distinguishes several genres - symphony, concerto, sonata, and trio - which may guide the stylistic derivation o f a four-part Allegro. The symphonic type alternates “ the rushing and brilliant with the singing style.” In the concerto style, “ the first voice has various solos . . . lightly accompanied.” Simple three-part sonatas are “ distinguished by . . . the alternation o f four-part and two-part harmony. . . . [while] the first violin continues . . . with singing passages in the style o f Italian arias. . . . ” The fourth type resembles the artificial three-part sonatas described in the preceding chapter. In slow, cantabile movements, Daube suggests creating variety by interrupting a piano passage with “ a single forzando tone,” using “ pizzicato” accompaniment, and repeating the melody with “ muted violins.” Daube’s plural, “ violins,” suggests that some o f these four-part scores might be performed by several players per part, in the manner o f string chamber symphonies.

D uring Daube’s lifetime a new style o f orchestration was developing to enhance concurrent changes in musical style. In “ Composition in five and more parts” (Chapter 6), Daube opens another frontier in music theory by offering the earliest instruction on the idiomatic orchestration o f chamber symphonies with winds.

Daube’s use o f sustained wind tones with active string figuration illustrates “ the most salient feature o f the changing orchestration.” 104 Sustained tones, says Daube, “ have been introduced into symphonies in the current taste, where they enliven and strengthen the brilliant passages.”

Then, in a manner reflecting the growth o f the symphony, Daube gradually adds pairs o f wind instruments to four-part strings - first horns, which “ to a large extent . . . comprises the current taste in symphonies,” then oboes or flutes, and finally oboes and flutes - an ensemble which accurately reflects the current chamber orchestra.105 Daube’s instruction concentrates on effective, idiomatic writing for winds, which “ in brilliant passages . . . have mostly sustained tones.” Elsewhere, the upper woodwinds play “ short singing passages . . . in thirds or sixths,” and concert together, or “even with the horns,” which also may play “ short solos” in the middle range, possibly accompanied by a bassoon. Short phrases and frequent rests allow wind players to breathe, and contrib

102 See p. H2.

103 Com pare Levy, Quatuor Concertant, pp. 46, 10 4 -0 6 , 134 -5 , 247, 326.

104 Carse, Orchestration, p. 139.

105 Com pare J . A . P. Schulz, “ Symphonie. (M usik.),” in Sulzer, Allgemeine Theorie, vol. II (1774), pp. 1 1 2 1 - 2 .


ute to the “ diversity o f the harmony,” as groups o f instruments alternate in soloistic or supportive roles.

Scoring and textural variety are not autonomous considerations, however, but aid in clarifying the musical design: basic blocks o f texture, instrumentation, and dynamics set o ff stylistic contrasts in accordance with principles o f symmetry and recurrence. The bold-stroke symphonic medium requires harmonic simplicity, “ because the brilliant and fleeting melody is not consistent with great artifice.” 106 Yet, as Daube mentions elsewhere, brief double counterpoints provide variety, and motivic imitations prove very effective.

Daube’s concept o f the symphony rings true to his cosmopolitan heritage in Berlin, Stuttgart, and Vienna, which had “ the most famous and largest orchestras of the eighteenth century each in their own period o f bloom.” 107 In Daube’s discussion, the contrapuntal and motivic practices o f Berlin, italianate melodies o f Stuttgart, progressive orchestration and stylistic contrasts o f neighboring Mannheim,108 and idiomatic wind writing o f Vienna,109 all appear in ascending order o f importance. B y emphasizing orchestration Daube remains consistent to his interest in texture, becomes an innovator among theorists, and aptly represents the chamber symphony, which characteristically displays “ the splendor o f instrumental music.” 110

“ Variation” (Chapter 7), a chapter “ more concerned with melody” than with the composition o f several voices, links the preceding, free-style harmonization o f melodic figures to the subsequent, strict-style imitation o f melodic figures. Daube’s use o f variation as a stylistic common denominator comes out repeatedly in later chapters, as he adapts strict- style techniques to free-style aesthetic and musical values. But although Daube considers variation a valuable resource in all styles, his main example is in the popular theme and variations form .111

Teaching that “ variations flow from the chords themselves,” Daube elaborates each tone o f his three chords, progressing rhythmically in a manner suggestive o f species counterpoint.112 Several o f Daube’s motives are reminiscent o f the Figurenlehre, a theory of musical composition based on the analogy of music and rhetoric.113 Daube’s schematic approach and counting o f figures in his examples also recalls ars combinatoria invention, in which a given number o f items are recombined and permuted.114 Daube also points out that different registers, articulations, rests, and dotted rhythms, w ill yield even more

106 See n. 75 to text. Daube also encourages facile key relationships in “ the natural construction o f a long melody”

(i.e., a complete movement) in Der Musikalische Dillettant: eine Abhandlung des Getieralbasses (Vienna: Kurtzbock,

17 7 0 /7 1) , pp. 9 1-2 .

107 Carse, X V IIIth Century, p. 29.

108 Daube’s use o f winds in the singing style, surprise dynamics, general pauses, a “ rocket/' and absence o f figured bass

also recall the M annheim style, w hich Carse calls “ virtually a school o f orchestration” (Orchestration, p. 186).

109 Schubart, Ideen (1806), p. 77 .

110 Sulzer, “ Symphonie. (M usik.),” Allgemeine Theorie, vol. II (1774), p. 1 122.

1,1 See n. 83 to text.


1,3 See M attheson, Capellmeister (1739), vol. II, chap. 14 and Lenneberg, “ Mattheson” J M T (1958), vol. II/1, pp. 47-84

and vol. I I / 2, pp. 193-236 . For a later eighteenth-century view o f figures, see n. 93 to text.

114 See nn. 9 and 87 to text.

26 Introduction

figures, and that keyboard and harp call for bass variations, since “one is guided by the instruments” - a comment redolent o f the idiomatic, improvised variation-finales popular at public virtuoso concerts.

As a basis for variations, Daube recommends choosing the customary menuet or short aria with a good, simple bass. Daube’s theme, a cantabile style Andante, contains a figure identified as an Italian vocal ornament.115 His individual variations demonstrate both consistent figuration and contrasting motives, since “ the rushing style should always be interrupted by something delicate and melodious. . . . ”

“ Variation” gathers together many musical strands, both past and present - the traditions o f species counterpoint, Figurenlehre, ars combinatoria, and the changing practices o f improvised ornamentation. In his theme and variations, Daube weaves this heritage into a musical form which embodies the structural clarity and melodic style o f his era, and fosters the budding idiomatic virtuosity which would come to full flower in the next century. Yet Daube’s main purpose is to teach variation as a means o f elaborating a simple line from his three-chord progression into an attractive, figural melody; this premise o f melodic construction governs not only his free-style chamber music, but also the strict-style techniques o f imitation, canon, double counterpoint, and fugue.

“ Imitation” (Chapter 8) provides practical instruction on free imitation, rarely found in the theoretical literature o f the time. Daube considers imitation “ indispensable” in church, theater, and chamber music. “ Nothing good . . . can be accomplished without [imitation]. . . . It unites art with nature” (i.e., it employs an artistic technique to distribute a natural melodic m otif throughout the “ Harmonie” ).

Daube’s remarks on “ similar imitation” focus on range, spacing, and spontaneous- sounding alternations between a steady, thorough-bass foundation and a melodic, concerting bass, often placed in an appropriately higher register.

W hen preserving “ the continuity o f the key,” Daube eschews strict contrapuntal imitation. Instead, drawing a figure from one harmony, he imitates it freely within the following harmony o f his three-chord progression. Two- and three-part examples illustrate this technique with running passages and sustained tones, motivic fragmentation, rhythmic displacement, and motives in thirds before a cadence.

A n example for horns and bassoons then demonstrates that, with four parts, “ the first imitation occurs a fifth lower or a fourth higher” (i.e., fugally), and shows a modification for natural horn, while an excerpt for flutes and oboes illustrates various pairings of motivic fragments and a homophonic approach to the cadence. Discussing the importance o f these developmental procedures, Daube concludes perceptively that “ the fame [of those symphonies which have won general approval] rests not on the diversity of many thoughts, but rather much more on a good arrangement o f a few melodic motives, on the way they are fragmented, and . . . used in the appropriate place.”

Because Daube approaches composition as a performer, rather than as a historically minded theorist, he features free imitation as an element o f concertante part-writing

115 See E x . 91 and p. 143. For a study o f differences in national style among sets o f variations, see Fischer, “Arietta

Variata,” p. 404.


rather than as a modern stepchild o f strict canon and fugue. Hence Daube’s selection of imitative figures “ in accordance with the nature o f the instruments,” his awareness of “ the continuity o f a good melodic line in the upper voice,” his preference for brief imitations and impromptu responsiveness among the parts, his decorative use o f imitation to enliven textures on a simple harmonic palette (similar to techniques o f Rococo art), and hence his belief that free motivic imitation is more useful and natural than canon, because here “ the composer still has the freedom to continue his melody spontaneously.”

“ Canon” (Chapter 9) proceeds from the simplest types to the most artificial “ monuments o f antiquity . . . in vogue 200 years ago.” Surprisingly comprehensive, Daube’s practical, canonic recipe book indicates his valuation o f strict-style canon in an era of free-style homophony, stylistic contrast, and emerging conflict o f rules and genius.

Daube appreciates simple, vocal canon as a traditional plaything for dilettantes and offers the inverted retrograde canon, “ dedicated only to the friendship o f two persons . . . sitting opposite one another,” w ith each singing the notes “ as they appear from his point of view.” 116

As a composer and teacher, Daube also values canon as a preparatory discipline for writing fugue and double counterpoint, and for understanding that “ for the most part, . . . canon is based on the variation o f the previous measure. . . . ”

Daube does not restrict canon to the church style o f “ the ancients,” but intersperses simple canonic passages “ in the theater and chamber . . . as short solos within . . . a large piece.” 117 To Daube, the sound o f lightly scored canonic polyphony, “ between the rushing or brilliant passages in a large Allegro, with . . . each o f the three parts played by a different instrument . . . ,” provides yet another resource for textural variety and stylistic contrast. Daube’s incorporation o f canon, fugato, and invertible counterpoint into galant symphonic and chamber music - rarely explained in treatises - is his most unique and historically significant treatment o f the strict-style techniques. Still in an incipient stage in 1773, this practice increased toward the end o f the century, when references to the “ learned style” were familiar topics in the works o f Haydn and Mozart.118

In presenting canon as an ingredient congenial to the music o f his era, Daube reconciles a number o f differences between the older and newer styles. He adapts canon to the galant ideals o f (1) simplicity, by retaining his three-chord harmonic system for canonic writing, and by favoring simple canons over hidden devices (riddle and crab canons); (2) clarity, by making imitations more perceptible through long tones, rests, a running bass, and diverse instrumentation; (3) homophony, by constructing canonic voices in the same range to form a good, interdependent melody from the upper tones; (4) melodiousness, by insisting that canonic contrivances not interfere with the natural “ singing style” or characteristic figural rhythms o f individual canonic lines; (5) stylistic contrast, by amalgamating brief canonic passages into larger forms; (6) freedom, by encouraging spon-

1W See n. 107 to text.

117 However Daube considers the more artificial types appropriate only for the church style, and then only when

justified by the text and accompanied by free, non-imitative parts. See p. 168.

118 See, for instance, M ozart’s Serenade in C minor for W inds, K . 388 (1782 or 1783), III, and Sym phony N o. 41, K . 551

(1788), IV and Haydn’s Sym phony 99 (1793), IV, and String Quartet, Opus 76 /6 (1797), I.

28 Introduction

taneity and the breaking off o f canonic passages - vaguely symbolic of the genius’ breaking o f rules (canons), and the new questioning o f authority which surfaces more noticeably in “ Simple fugue” (Chapter 10), since there “ more freedom is allowed.”

“ Simple Fugue - fugal imitation without a consistent countersubject - deals with both “ regular fugues,” carried out “ according to certain rules,” and “ unbound or approximate fugues,” which freely incorporate “ the imitation of one or two main motives,” as in “ our good current pieces - symphonies, opera arias, and concertos. . . .” m

Daube’s preference is for fugue themes, moderate in length and range, which incorporate several figures.120 Although he gives no range restrictions (possibly because of the mainly instrumental context) his subjects encompass a fourth to a ninth. Subjects may be “ either lively and bright or serious,” as in the decorated alia breve, dance rhythms, and concerto style o f Daube’s various examples.121 Most begin with the soprano, recalling Viennese church fugue entries of the time.122

Daube describes three “ regular fugue beginnings” and their correct “ repetitions” (i.e., real or tonal answers).123 His tonal adjustments are conventional, but his explanation o f them in terms o f key-defining half steps within a chordal context (rather than in terms o f modes or scales) shows his strong tonal orientation. Daube’s ideas on irregular subjects, which “ do not begin [or end] on the octave or fifth o f the key,” 124 differ from those of contemporary theorists, since his chordal orientation leads to certain unconventional answers, and to an unusually large number o f answers at the subdominant level.125

Later entries, treated more freely, “ may occur at other intervals.” 126 Episodes may present contrasting material or utilize figures drawn from the subject.127 Daube’s guidelines on length o f episodes, keys o f secondary expositions, and stretto also admit of “ variants,” for he never intends “ to set limitations where none is possible.”

Daube’s concept o f a fugue imbued with “ the freedom o f the moderns,” 128 stands delicately and temporarily balanced between the “ rules o f the ancients” and the increasingly thorough fugal codifications o f many eighteenth-century theorists.129 In Daube’s hands, fugue is still the vital, pliant technique o f his formative years (as in the works of Handel, which Daube admired),130 interpreted according to galant principles o f creative

119 See n. 1 18 to text.

120 See nn. 1 1 9 and 143 to text.

121 See n. 14 1 to text.

122 These custom arily began w ith the soprano and moved downward, or w ith the bass and moved upward through

the other voices (Horsley, Fugue, p. 160).

123 M uch fugal term inology originated after Daube’s time. For instance, although eighteenth-century French and German

theorists described the tonal answer, the terms “ tonal” and “ real” were not used outside Italy until the twentieth

century (Horsley, Fugue, pp. 10 1, 155).


123 T his occurs because the chord membership o f the last tone partly determines whether the imitation begins in the

third chord (dominant level), or second chord (subdominant level), or whether both are possible. See nn. 12 0 ,12 3 , and

125 to text.

126 T his recalls M artini’s attacco subject. See n. 130 to text.

127 T his type is often called “ strict” fugue. See n. 144 to text.

128 See E x . 168.

129 T he resulting nineteenth-century conservatory concept o f fugue as a regulated form rather than a flexible “ procedure”

o f com position, effectively “ set limitations” to fugue and led to its decline as a valid means o f musical expression.

130 See Beweis (1782), p. 22 and Erfindung (1797), preface.


freedom. B y recording this attitude toward fugal composition, Daube again diverges from the mainstream o f theoretical thought, but represents the use o f fugue in late eighteenth-century chamber music more clearly than any other writer.

Daube’s presentation o f “ Double counterpoint” (Chapter 11) combines traditional methods with his practical, modern approach. He treats only double counterpoint,131 and only the three intervallic inversions in common use - the octave, tenth, and twelfth.132 Standard features include tables o f interval inversion, and the preliminary procedure o f w riting the inversion underneath the original two voices. Following the tradition o f differentiating subject and countersubject for easy recognition, Daube suggests a slow subject w ith a rapid countersubject entering slightly later.133 He also illustrates the common practices o f converting one type o f counterpoint to another, amplifying a line at the third (or sixth), and using auxiliary voices for greater freedom o f melodic action, especially at cadences.134

Daube’s galant orientation is apparent in his brilliant-style symphonic excerpt (Example 192), with free, auxiliary voices between widely separated contrapuntal lines. Moreover, while he touches on the essential topics o f double counterpoint, he gives only those rules practical for free-style writing. And although Daube does not insist that his three- chord progression govern intervallic counterpoint, his tonal, harmonic approach appears in several guises: his unconventional procedure o f w riting the figurated countersubject before the more sustained subject, resulting less in “ note-against-note” counterpoint than in “ melodic figure against harmonic underpinning” composition; his addition of accidentals to reduce the modal implications that may result from side-slipping to another tonal center when inverting at the tenth or twelfth; and his extremely free adaptation of melodic inversions to a key and fixed harmonic plan. N ot surprisingly, Daube’s only example o f strict (real) melodic inversion produces a mirror image o f the melody without violating the half steps o f the key.135

W hile Daube appreciates the use by “ the ancients” of double counterpoint for melodic extension, and its continuing position in the church style, he also advocates interspersing short contrapuntal passages into arias or symphonies, and applying contrapuntal inversion to melody and accompaniment textures.136 Used in these ways, which reflect current trends, double counterpoint can “ show forth art and beauty” in galant music. Thus Daube reconciles old and new, strict and free, while presenting an indispensable ingredient for the study o f double fugue.

“ Double fugue” (Chapter 12) combines fugal imitation with invertible counterpoint. After discussing “ artificial” simple fugue, in which the invertible countersubject first appears with the answer,137 Daube moves on to double, triple, and quadruple fugue


132 A lthough M arpurg treats invertible counterpoint at seven different intervals (.Abhandlung, vol. I (1753), chap. V III),

Daube, together w ith Kirnberger (.Kunst, vol. I I/2 and 3 (1777 and 1779)) and the m ajority o f late eighteenth-century

theorists, limits his instruction to the three most com m only used inversions.



135 See E x x . 187 and 224 and nn. 167 , 2 12 and 213 to text.


137 See nn. 17 7 and 178 to text.

30 Introduction

proper,138 usually presenting multiple subjects at once or in quick succession at the beginning.139 Techniques covered include the invention o f subjects suitable for inversion at the octave, tenth, and twelfth, derivation of voices, stretto, augmentation, diminution, melodic inversion, and combinations of these.

Despite Daube’s thorough treatment o f artificial techniques, however, he reaffirms his galant ideals throughout his final chapter. Emphasizing clarity, he recommends the judicious placement o f rests, differentiation of multiple themes through rhythm, time of entry, and length, and use o f different instruments for each line. “ Noble simplicity” o f melody and harmony becomes increasingly important as textures become more complex, and Daube reiterates the homophonic concept that “ the ear always hears only one melody with regard to the upper voice.” Daube also values the artificial techniques o f “ the ancients” for their inherent variety, since multiple invertible counterpoint produces an array o f harmonic permutations, while melodic inversion offers numerous linear possibilities.

Moreover, brief contrapuntal passages interspersed into a basically homophonic galant idiom provide variety o f sound and texture - perhaps the most salient concern in Daube’s free-style part-writing instruction. Thus, by adapting strict-style techniques to galant aesthetic values and a cadential harmonic system, Daube encourages the stylistic integration which, before his death in 1797, had become a hallmark o f the greatest classic masterworks.

Johann Friedrich Daube’s work reveals the insights o f a broadminded, cosmopolitan musician, whose unique and practical approach reflects the music, more than the theory, o f his time. In The Musical Dilettante (1773), Daube offers his comprehensive view o f musical composition in “ the clearest and easiest way” for the “enjoyment” o f amateurs. In doing so, he focuses on the dilettante as a late eighteenth-century cultural phenomenon, captures the essence o f the galant chamber style, and reconciles diverse elements into a musical style in which “ art and nature are united to produce true beauty.”



The Musical Dilettante

ATreatise on Composition,

which

clearly explains and illustrates by means o f selected examples, not only the newest styles of composition for pieces

in two, three and more parts, but also most artificial species o f ancient canons

and o f simple and double fugues,

by

Johann Friederich Daube,

Counsel and First Secretary of the Imperial Franciscan Academy of Liberal Arts and Sciences in Vienna and Augsburg.

with most gracious Imperial Roman privilege.

Vienna

printed by Johann Thomas Edlen von Trattner, royal and imperial court printers and booksellers.

1773

C O N T E N T S OF THE EN TIR E W O R K

1 Harmony in general page 37

2 The three different motions o f the voices 42

3 Combining two voices. A few general remarks pertaining 46to the construction o f a bass

4 Combining three voices. A few remarks pertaining to 69three-part composition

5 Combining four voices. A few remarks pertaining to 104four-part composition

6 Composition in five and more parts 1 19

7 Variation 132

8 Imitation 144

9 Canon 156

10 Simple fugue 186

1 1 Double counterpoint 2 13

12 Double fugue 23 1

33

PREFACE

A well-laid foundation in thorough-bass can rightfully be called the guide to composition. The reason is that thorough-bass consists o f the knowledge o f chords and their succession. Composition, on the other hand, is the skillful combining o f these chords with melody in such a way that the expression or depiction o f the affects may result. Furthermore, every melody is constructed o f tones which are intervals derived from chords, although, strictly speaking, this does not take into account the passing tones which are frequently required for the formation o f the melody.

It is, to be sure, actually quite possible to have the practical science o f thorough-bass at one’s fingertips without understanding composition, but it is impossible to be able to compose without knowing the rudiments of thorough-bass. For to invent a certain melody and set a bass to it by ear is only the very slightest part o f the art o f composition. To do this, o f course, one does not need to understand the theory o f thorough-bass, although without this knowledge one is certainly not even in a position to provide the shortest melody with a well-founded accompaniment. And even should one happen upon a good accompaniment by frequently hearing similar passages, one is still at a loss to suggest the slightest basis for it. Thus it is always safer to learn thorough-bass solidly, and in its entire range, before venturing to compose. In composition there are great difficulties to be mastered, particularly for a professional musician who wants to learn it thoroughly.

We w ill make every effort to present this knowledge in the clearest and easiest way for amateurs, especially those w ho have read our treatise on thorough-bass1 and understand the succession o f chords, together with the relationship o f keys. We assure the reader that all unnecessary prolixity is avoided and that anything which is not essential and useful at the present time is excluded. The basic principles, the arduous difficulties, and those things which were formerly obscure should be explained and revealed here in such a way that the amateur might easily be able to learn and use this pleasant science for his enjoyment. We now turn to the explanation o f harmony.

1 Throughout this w ork “ our treatise on thorough-bass” refers to Daube’s Der Musikalische Dillettant (Vienna, 17 7 0 /7 1) ,

the first w ork in the Dilettant series, rather than his GeneralBafi in drey Accorden (Leipzig, 1756).

35

I

H A R M O N Y IN GENER AL

Harmony is an arrangement o f several tones or voices which are combined artificially so as to best obtain the final aim, which is to please the ear. It is presented in various ways: through the realization o f the thorough-bass, whenever nothing but chords, all o f which must be harmonic, are heard on the harpsichord etc.; or by various other instruments each playing a separate melodic line as, for example, in a fugue, where much artistic [elaboration] is displayed, or in a slow piece consisting mostly o f chords. Here this same harmony is already more widely dispersed, while the diverse note values which occur, and similarly the passing tones, ornaments, etc., direct the harmony toward an effect altogether different from that which might result from a realization o f the thorough-bass. N ow if the harmony is expressed by voices [4] and instruments together, the result can be even better, provided the execution is good. Every amateur knows how much singing contributes to the expression o f the affects.2 The human voice always remains the most noble means o f expressing them,3 particularly when it has been well supported by nature and art. W hat even nature alone is able to do in this regard, and how it directs even the purest part of the harmony toward expressing certain affects, is found by listening to the sacred hymns which are sung by many persons together. The melody o f these songs is the simplest and altogether the most artless, and the harmony, which is sung by people, most o f whom understand nothing at all about music, consists o f the unison and the octave. These two intervals, sung here by natural, untrained voices, are usually quite well in tune, and, despite the great poverty o f this harmony, the final aim, which is to move the soul, is nevertheless very often achieved.

Indeed, the effect of harmony is multifarious.4 A chord in which the intervals are spread out far from one another creates an altogether different impression than a chord in which they are quite close together. Furthermore, the ruling chord5 in C major, for

2 T he doctrine o f the affections or emotions (Affektenlehre), a codification o f emotions and the means by which they

could be represented in music, was to have been the subject o f Daube’s third, and missing, Dilettant.

3 Beyond the general eighteenth-century admiration for the human voice as the most natural instrument, Daube’s

proclivity toward a vocal, “ singing’ ’ style probably was influenced by his contact w ith the Italian bel-canto style

w hich flourished in the southern Germ an-speaking areas.

4 As Daube proceeds, it becomes clear that Harmonie denotes both texture and chordal harmony (as opposed to the

linear element o f Melodie), and that his opening chapter invites the reader to explore the realm o f texture and sound.

5 Daube’s “ ruling chord” or “ first chord” is the tonic chord. See the Introduction (p. I9 _2i) for the “ three chords” in

Daube’s harmonic system.

37

38 The Musical Dilettante

example, sounds excellent when it is heard in the middle o f the scale. Its effect is good on the organ, harpsichord, or piano, but still better when played by two violins and a violoncello. If it is heard on wind instruments o f one family or of several, with or without string instruments, the effect is different in each case. This in turn is changed (let us not say further improved), if the first inversion is heard with the violoncello projecting the bass E quite emphatically with a forzando, and then slurring to F [Example i].

Ex. i

f t t 11 J - - j » 1

# = § == ~ l ~ r r 1

- e -

V-

....

The second inversion, with G in the bass, does not have such a good effect, particularly if C is on top, [5] but it, too, can sound good if E is on top, or the bass is sustained in the low register [Example 2].

Ex. 2

g n n nbetter

The reason is that the G, apart from this, is the root o f its own natural harmony. However, i f it is to appear as a bass with the harmony o f the ruling chord, its effect cannot be as good, because in this chord it is properly regarded as an upper voice, especially when the proper root is on top, as shown here in the first measure o f the first example. On the other hand, if the upper voice has E, which naturally lies closer to the G, the effect is better, because the sixth [between the outer voices] is pleasing to the ear. See the second measure. However, i f the G is situated in the lower bass register, and is heard before the harmony of the ruling chord appears, the effect is excellent, especially if it is followed by the G harmony, or even a different one, over the stationary bass G.

Although the effect o f the ruling chord in the middle tones o f the scale is very good, it nevertheless is made even better by spacing its intervals far apart, as when two flutes play E and G, or E and C in the upper register [Example 3].

Ex. 3

Harmony in general 39

The effect is very different when two oboes play these tones in the middle octave, particularly in thirds, [6] which sound more pleasant than sixths on these instruments, in contrast to the flutes [Example 4].

Ex. 4J /* 1-8- - - - - n

- - - - - - - n------- H

The effect is changed once more when these two diverse wind instruments are heard together, and again if violins are added. I f horns, too, jo in these instruments, the completely full harmony produces a magnificent musical expression. However, i f the violins are muted, and the other instruments blow piano, this doubled chord can be expressed delicately. Placing the oboes an octave below the violins is an unusual arrangement which also creates an exceptional effect. It remains true that the characteristic tone quality of each instrument also contributes greatly to the expression o f the affects. The unison is said to exactly coincide among all instruments, and yet everyone, even one uninformed about music, hears the difference between each o f the instruments. All instruments used during antiquity as well as at the present time differ from one another in tone quality, [a characteristic] which results from the nature o f the instrument and remains peculiar to it alone. Chords in which the tones are kept close together in the very low bass register are ineffectual on any instrument and o f no use whatever. Yet they are more readily acceptable if the third [above the bass] is omitted, since then only the interval o f a fifth or sixth is heard. Thirds and seconds are used to advantage in the upper register, but very rarely in the lower register unless the melody were found in the tenor. Even the very low double basses make a good impression only with a full complement o f many diverse instruments, while violoncellos are much more useful in lightly scored things, or solos, in concertos, with the voice, in arias, etc.

In order for the harmony to have a good effect, it is also necessary to avoid always maintaining the complete full-voiced harmony, even if the piece is supposed to be comprised o f four, five, or more voices. The third, however essential it may be, [7] can nevertheless be excluded at times, as when the fifth is paired with the bass, and its octave is better than the third in the middle part [Example 5].


However, a bass tone which can be just a third below the top voice is always preferable to any other bass, in which case the fifth can be put in the middle part. Sixths have a good effect when their bass is played by either the second violin or the violoncello, but in this case the rest o f the harmony should not be so heavy as to disturb the effect o f the sixths. The diminished fifth, the augmented fourth, or so-called tritone, make a particular impression, especially in slow, delicate pieces in close two- or three-part harmony. H owever, should the piece be generally full-voiced, as may be the case in a church piece, chorus, or symphony, the other intervals can also be added. Here, however, a fine judgement is required, since even in the largest things the full-voicing must sometimes be interrupted for the occurrence o f a delicate passage. In this full texture, however, the voices should very seldom lie close together. On the contrary, it is always better for the voices to be separated from one another. Every scholar o f music knows that, through the separation o f their voices, even the strongest dissonant chords lose a large part of their harshness or discord, whereby they, in alternation with other chords, help to contribute greatly toward the beauty o f a piece. The effect is very clearly perceived by the ear.

[8] In three-part composition, where the third can more readily be omitted, the second chord also makes a good impression when the adjacent intervals o f a fifth and sixth are heard together, with the fifth then slurring down a step [Example 6].6

Ex. 6

$

In a four-part piece, however, the third can also be included. In the third chord, the third and seventh are preferable to the fifth, if the piece should be in three parts [Example 7].7

Ex. 7

#

On the other hand, when the seventh is major, it can be combined with the second. Likewise, the second and augmented fourth are readily used together in three-part composition. Look at the two foregoing examples. The diminished seventh chord8 calls

6 Daube’s “ second chord” is iif, sometimes ii6 or IV. In E x. 6, m. 2, both d " and b ' have a stem in the original.

7 Daube’s “ third chord” is V 7, sometimes V or vii. In E x. 7, the b '- c " slur is editorial.

8 O ne o f Daube’s “ artificial” chords, the diminished (kleitt) seventh may substitute for the “ third chord” except in

cadences. See n. 12 for a discussion o f “ art” and “ artificial.”

Harmony in general 4i

for close intervals and always makes a good impression. However, if the piece has only three voices, the diminished seventh, and likewise the ninth in similar cases, is accompanied by the third [Example 8].

Ex. 8

I I r I = 1

[9] The other artificial chords welcome the separation o f their tones. N ow if a piece should include many such harmonies, particular care must be taken, at least when changing to a different chord, that one tone might always be able to remain stationary, and that chiefly in alternation between the two voices. For example:

Ex. 9

J A— r v ——~------------ 0

p ■ 1Ll - | o " = q

11 r r r 11— \II 1 M 1 M -------------------- 1

In general, variety in harmony, just as in melody, is very necessary, both in view of the succession o f chords and the distribution o f the chord tones, provided that it is to contribute to the pleasure o f the ear and the expression o f the affects. Everyone knows that even if a well-constructed melody were given to a hundred or more skillful composers to be harmonized, and these harmonizations were all worked out strictly according to the rules o f composition, yet, throughout all hundred compositions, the melody in combination w ith the harmony would inevitably produce a different impression each time.9 Then, one might ask, which is the best? That one is best which is adapted to the nature o f the melody and complements the expression o f those affects which are characteristic o f it .10 These are things which are taken into consideration by even the most experienced composers, for whom it is otherwise quite an easy thing indeed to write the harmony for any naturally flowing melody. In the course o f this book we w ill endeavor to elucidate all o f this even more clearly by means o f the accompanying examples.

9 Daube’s awareness o f the potential for variety in the large numerical possibilities for selection and combination o f

musical elements suggests the ars combittatoria, used earlier by Mersenne, Kircher, Printz, and Ziegler, and by Daube’s contem porary R iepel. T his concept, im portant in mathematical theory o f the period, was set forth by Leibniz in his

Dissertatio de arte combittatoria (1666). Applied to music, “ Musica Combittatoria . . . shows how to combine sounds by

changing their position and shape in as many ways as possible” (Brossard, Dictiottaire (1703), p. 58, Eng. trans., p. 63).

See Ratner, "Ars combittatoria,” p. 345. See n. 87.

10 Daube shows a typically eighteenth-century interest in rational judgem ent. OtheT writers w ho judge a harmonization

by its reflection o f the expressive character o f the m elody include Ram eau, Traite (1722), p. 324, Eng. trans., p. 341;

Kollm ann, Essay (1799), p. 82; Kirnberger, Kuttst, vol. I I / l (1776), p. 19, Eng. trans., p. 297.

2

THE THREE DIF FERENT MOTIONS OF THE VOICES

If we consider harmony from the point o f view that it may serve as the accompaniment for melody, it has its limitations as far as [10] the succession o f chords is concerned. However, i f the voices which have been formed from the chords can move in different directions in relation to one another, and thereby carry their own separate lines,11 then harmony can be accorded the same almost limitless variety as that which is inherent in melody. In music there are three different motions by which the voices move back and forth. The first is called parallel motion. This consists o f two voices ascending or descending together in the same tempo, that is, in notes o f equal value. This motion can be called the natural one. Art plays a very small part in it .12 Nature has given it the unison and the octave, as we hear in the echo, and eventually the third above and below (sixth) were added by the process o f imitation. The alternation o f the third and octave, and o f the sixth and unison may be attributed to art. Thus parallel motion can also provide the easiest introductory method for the construction o f two voices. In doing this a beginner has only to observe that the second voice can proceed in either thirds or sixths with the first, and then, in accordance with the thorough-bass method, that the ending must be an octave or unison rather than a third or sixth, provided that it has been preceded by a closing formula or cadence [Example 10].

Ex. 10

11 T he idea o f having the voices “ carry their ow n separate lines” is mentioned by many theorists, including R iepel,

Anfangsgrunde, vol. V (1768), p. 3 and Kirnberger, Kutist, vol. I (177 1) , pp. 143-5 , Eng. trans., pp. 160 -6 2 . W hile some

w riters, such as R iepel, Kirnberger, and Fux (Gradus (1725), Ger. trans., L . M izler (1742), p. 60, Eng. trans. in Mann,

Counterpoint, pp. 2 1-2 ) describe the three m otions as contrapuntal progressions o f perfect and imperfect consonances,

others, especially those discussing thorough-bass performance rather than com position, define the three motions as

Daube does - in terms o f relative direction w ithout intervallic specifications. These include Lohlein, Klavier-Schule

(1765), pp. 88-9; C . P. E. Bach, Versuch (2/1759), pp. 24 -5 , Eng. trans., p. 191; and Petri, Anleitung (2/1782), p. 225.

12 Here Daube introduces the dichotom y o f art (Kunst) and nature (Natur), a theme w hich recurs on many levels

throughout the Dilettante. In general Daube equates art or artifice w ith musical complexity, intellectual ingenuity,

harmony or texture (as opposed to m elody), and complexities such as chromaticism and the bound style o f “ the

ancients,” w hile nature - more prevalent in music o f “ the m oderns” - is represented by simplicity, spontaneity,

melody, diatonic harmony, and an appeal to the ear as opposed to the intellect. (“Artificial” likewise meant “ made

by art,” and did not carry the connotation o f “ synthetic” w hich it acquired later.) For eighteenth-century discussions

o f these terms see J . A . P. Schulz’s “ Kunst; kunstlich.” in Sulzer, Allgemeine Theorie, vol. II (1774), pp. 6 25-6 and

Adelung’s Worterbuch, vol. II (1796), pp. 1830-35.

42

The three different motions of the voices 43

This method o f composing two parts is regarded with particular favor when two voices - namely two sopranos, or two flutes, two oboes, etc. - are set in the middle of a scale. The upper register is still more advantageous to the flutes. Slow rather than quick passages are preferable for the voice. Parallel motion may be included in any piece. It is sometimes desirable in the church style as well as the opera and chamber styles.13 Everything o f a delicately singing nature can be enhanced by it. The appropriate place to use parallel motion w ill be pointed out even more clearly during the course o f this work.

Another motion in harmony is called contrary motion and characteristically occurs when the melody o f the main voice ascends [n] into the upper register while the other voice descends, or the reverse. This type o f motion already has been very highly recommended in our thorough-bass treatise, because it is among the most important points in the study o f thorough-bass. It likewise deserves to be designated as the surest way to prevent mistakes in composition. It was engendered by art and established by practical usage. From contrary motion, there arise the most beautiful combinations and melodic motives (Glieder) which must serve as the substance (Korper) o f the main melody (Haupt- melodie). But moderation also must be observed here, because otherwise an all too strong or continuous use o f contrary motion can actually be detrimental to the main melody.

Variety in music is always most pleasant. The advantages and usefulness o f contrary motion may be judged from the fact that it has all the intervals in its domain, so that even the unison and the octave may appear in a two-voice piece.

Ex. ii

Here [in Example n] we see that it is possible to begin with a unison or an octave, as well as with the other intervals. The beginning may be a consonance or dissonance, but the end must usually be a consonance. The first example shows a very simple usage including only the intervals within the key. Here contrary motion begins with the diminished fifth, and the harmony is an alternation o f the third and first chords. The second example begins with a third and already contains an interval foreign to the key.

13 T he three functional styles recognized by eighteenth-century theorists. Parallel motion was less to be expected in

the church style, due to the latter’s traditionally contrapuntal nature. See pp. 132 , 2 17 and n. 157.


This is done [12] so that the E in the bass or lower voice could coincide with the last tone, B, [of the upper voice] and yet a different note could be set in the lower voice against each tone o f the upper voice. For more on this subject, examine the key o f E minor in the treatise on thorough-bass. The third example begins with the diminished seventh and resolves into the first chord, as is customary. The third chord follows, and then the first chord again. After this, although the third chord does reappear, it does not resolve into the first chord, but rather into one partially similar to it, namely the third chord in D minor, and this harmony in turn goes to a chord partially equivalent to its first chord, namely the compound seventh chord in G major.14 The following harmonies have the same resolution as those in the first two measures, except that they are set one tone lower. In our thorough-bass method, the treatment of the artificial resolution o f chords15 is demonstrated by several examples. The fourth example shows that with this type of motion the various voices may also be allowed to commence with a unison. The first tone, by virtue o f the following F-sharp, belongs to the harmony o f the second chord in G major. The subsequent interval o f a second results from the retention of the tone in the upper voice, and here is to be considered more as a passing interval which occurs only in order to proceed from the unison and likewise to allow contrary motion to be introduced. The F-sharp and C which follow belong to the third chord in the key of G major, and then comes a harmony partially similar to its first chord, namely the third chord in A minor, which is succeeded by the octave A . The fifth example is especially worthy o f a beginner’s attention. It begins with an octave followed by the third chord in A minor, which resolves into a harmony partially similar to the first chord, namely the third chord in D minor. N ow the first chord in the key o f D minor appears, and then the partially similar third chord in G major followed also by the first chord in G major. In order to propel this contrary motion to the octave A with which this example began, the chromatic chord16 which is partially equivalent to the foregoing chord now appears, with the G-sharp being the half step closest to it from below, just as the B-flat is from above.

We have diligently explained these examples here in order to show the novice how each harmony should always be reasoned out from the previous one. In our thorough-bass method, page 305, we said that, although the first chord should naturally follow the third chord in any key, nevertheless the rules of art may permit a partially similar chord to follow instead. [13] A ll o f composition, indeed even the melody itself, is based upon this, as we w ill endeavor to demonstrate in the proper place. There are also many cases in which a bass note indicates what is to follow, even when the melody may not yet show it [Example 12].

14 A diminished triad plus a major third. Daube often calls it the compound (zusammengesetzt) major seventh chord.

15 “Artificial resolutions” are those resolving to a chord other than the expected “ first chord.” They include resolutions

to “ partially similar” or “ partially equivalent” chords, in which one or more notes belong to the first chord, while

one or more are different - often chromatically altered to change the expected triad into a new dominant chord.

16 The second o f Daube’s “ artificial” chords is the augmented sixth chord.

The three different motions of the voices 45

Ex. 12

Here the melody indicates that the third chord could be used twice before the final tone [i.e., tonic note], but the bass sounds the A which corresponds to the upper G and E only once before going to D from the first chord. The reason for this is the following. In the thorough-bass method we mentioned that the harmony o f the first chord must follow that o f the third chord. The exceptions to this rule are the aforesaid partially similar chords, and the deceptive cadence. N ow if the harmony o f the first chord does not appear immediately in the melody, nevertheless, according to the preceding rule, the root o f the first chord is set to it, as shown in the example. Moreover, bound tones such as the G which occurs twice here,17 very seldom are given their own bass, and besides, this second G can also be regarded as an appoggiatura, which never has a bass o f its own. If this rule is observed, one may (provided only that one or several tones from the third chord are previously sounded in the melody) choose to take the melody to different tones or degrees, to which the bass can be added. In that way the succession [of chords] always remains proper to the root o f the first chord. More about this below.

We now turn to the explanation o f the third motion o f the voices. This is called oblique motion and consists o f one voice moving through various tones while the other voice sounds only a single tone. This tone may be sustained as a long note or expressed by rapidly reiterated notes, provided that the pitch remains the same. Oblique motion is the most artificial and beautiful in composition. It also quite often incorporates one o f the two motions described above, whereby both are heard at the same time. Often a combination o f all three motions occurs, but always for the pleasure o f [14] connoisseurs o f music. W ithout this principal motion, very little o f beauty can be accomplished in composition. And oblique motion is quite unique, in that nature and art play an equal part in it. N o type o f musical piece can do without it entirely, with the exception perhaps o f a few little pieces for trumpets or horns. Most o f the affects can be expressed by it. In general, it may be said that true beauty in music is dependent upon oblique motion. In most opera arias in the current taste, one can hardly find a measure without this type o f motion, and indeed, the most magnificent symphonies are impressively adorned with it when the wind instruments have sustained tones.18 Thus it also can rightfully be called an embellishment o f the harmony. Indeed, in the proper place we w ill even attempt to demonstrate that the invention o f melody itself is partially indebted to oblique motion.

17 E x . 12 : the e" and g " are not tied in the original.18 See Chapter 6 , passim. Com pare R iepel on sustained w ind tones in symphonic w riting, Attfattgsgruttde, vol. IV (1765),

p. 72.

46

We have purposely described these three motions in harmony rather extensively since, as a rule, they are treated much too briefly in other writings. It is known that the advantages resulting from a clear and detailed explanation can be extremely important to a prospective composer. O f what use is the knowledge o f harmony, i f one does not know how to activate it by means of the proper motions? For want o f this it would very closely resemble an inanimate body. Even if one wanted to set a harmony in motion by means of the repeated statement o f one chord, it would please no one. W hy? W hat is lacking here is melody - the change or progression o f tones, and the change o f motion itself. But a phrase in which a single change occurs already has been subjected to one of the three types of motion.

In the treatise on thorough-bass we brought up various aspects o f this subject and demonstrated that even accompanying or thorough-bass playing is dependent upon the three motions. Anyone who fully understood that truth w ill certainly not doubt their aforementioned usefulness in composition. Therefore we recommend the thoroughbass treatise. A beginner would do well to read it over and appropriate it even before proceeding to the combining o f two voices. The resulting benefits will be evident soon afterwards.

3

COMBINING T W O VOICES

[15] It is reasonable to begin the study o f harmony with two voices. Whoever knows how to write these well, w ill subsequently not find it difficult to add a third one also. Here, however, we are speaking only o f altogether simple harmony which as yet requires very little judgement. Two-part harmony19 can conveniently be divided into two classes:20 one, which simply pertains to an upper voice and a bass; and the other, which is com-

19 In this preliminary chapter on part-writing, Daube does not use the term “ duet,” which implies concerting between

the tw o parts (a technique developed in Chapters 4 -6). According to J . A . P. Schulz, “ two-voice pieces . . . are o f

tw o types: the most distinguished and difficult are those for tw o concerting voices, and are called duets” (Sulzer,

“ Zweistim m ig. (M usik.),” Allgemeine Theorie, vol. II (1774), pp. 128 6 -7 , corroborated by Kirnberger in “ Duet.

(M usik.),” ibid., vol. I ( 177 1) , pp. 282-3). Com pare T u rk , Klavierschule (1789), p. 394, Eng. trans., p. 387; and Koch,

“ D u ett,” Lexicon (1802), cols. 497, 501.

20 Some other theorists also recognize tw o types o f two-part w riting, distinguished less by range than by a basically

homophonic texture (similar to Daube’s “ tw o equal voices” ) and a more polyphonic texture (similar to Daube’s

melody/bass type). This stylistic distinction, noted about 1760 by Quantz (Sechs Duette f i ir zwei Floten, vol. I,

Preface), is explicitly described thirty years later by Koch, Versuch, vol. I l l ( i793)> PP- 320 _2I> Eng. trans., pp. 204-05.

Combining two voices 47

posed o f two equal voices.21 To make a correct setting o f the former type, choose any key (as was analyzed and explained in our thorough-bass method) and put a tone from this key in the upper voice, noticing at once, however, to which chord this tone belongs. Then write the lowest tone, namely the root o f this chord, in the bass.

In the key o f C major, for example, if we set the E in the upper voice, we immediately discover that this tone is to be found in neither the second nor third chord, but that it belongs in the first chord, the root o f which is C. Therefore this C is set in the bass, because it best harmonizes with E as well as G [Example 13].

Ex. 13

y 0 —

110

In two-part composition it is also permissible for the root to provide the bass for its octave, but this should not be done with the other intervals o f this chord. The second bass note is [16] E. This tone is used in the bass when C or G is in the soprano. It serves as an alternate for C and always has a good effect [Example 14].

Ex. 14

G also can appear in the bass whenever the bass moves in sixths with the upper voice, a progression which provides variety in two-part composition and is permitted throughout all degrees o f the key. It is in just this way that the G is brought into the bass for the formation o f a cadence [Example 15].

21 Daube’s melody/bass type, a standard eighteenth-century texture, relates to the thorough-bass tradition (in which

the bass provides the harmonic foundation for a treble Melodie-lnstrument) and also forms the skeletal framework for

many ensemble pieces, including symphonies. R iepel, for instance, speaks o f letting the second violins play in unison

w ith the firsts, w hile the violas move in octaves w ith the bass line (Anfangsgrunde, vol. I l l (1757), p. 35). Pieces for

tw o equal (usually treble) parts reflect the generally accepted later eighteenth-century view that the harmony is so

clear and orderly that the tw o treble voices can lead the ear adequately through the rhetoric o f key and cadential

form ula - an assumption especially w ell founded in Daube’s simplified three-chord harmonic system. See Quantz,

Sechs Duette fu r zwei Floten (c. 1760), vol. I, Preface; Kirnberger, Kunst, vol. I (177 1) , p. 17 1, Eng. trans., pp. 184-5;

and Koch, Versuch, vol. I ll (1793), pp. 320 -2 1, Eng. trans., pp. 204-05. See also Ratner, Classic Music, pp. 108-09,

120 -23.


Ex. 15

Since we already have pointed out all o f this in the thorough-bass method, it can be reviewed there. We now have demonstrated the position o f each interval o f the first chord in the bass. However, we still must speak about those tones which may occur here even though they really belong to melody rather than harmony. They are called passing tones. Their origin and use are described in our thorough-bass method on pages 51 and 84. They are used to great advantage in composition and are, in fact, necessary, since whenever the upper voice sustains a long note, the bass should continue with a moving part, because constant motion is the soul o f music. Thus, i f one part stands still, as it were, or sustains a long note, the other part must maintain the motion. To be sure, there are also cases in which all the voices proceed very slowly, but these are too far out of fashion, and are more suitable for songs o f lament and mourning, than for encouragement and cheer, which [17] after all, should be the principal purpose.22 Here are the locations of passing tones in the first chord [Example 16].23

J A

Ex. 16

=p=r r 11 “ — 1 fJ ? - =“ II+ + . + + + +

-1----- 1 —F - l r rr — r ----------HI M r r n t - = ------- j ------- gh--- u---- II

In the first example we see two passing tones, namely D and F. These result from the movement o f the root, C , to its third, which includes the D in between, and then from the movement o f E to its third, G, which likewise passes through the tone F between them. In the second example two additional passing tones are shown, namely B, the half step below the root, and A , a [whole] step above the fifth, G. W ith both of these tones,

22 Daube’s phrase, “ the soul (Seele) o f music,” which hints at the current fascination w ith bringing the mechanical

to life, also is used by Leopold Mozart and others (Violinschule (3/1789), p. 27, Eng. trans., p. 30). R iepel likewise

comments that “ a slow movement such as an Adagio is sad,” and that “ today most music lovers are no longer pleased

to listen to sad things, except in church” (Anfangsgruttde, vol. IV (1765), p. 32). See n. 41.

23 E x. 16: m. 2, upper voice, the last note is a w hole note in the original; lower voice, the last note is a half note in

the original; m. 3, no crosses over / and a in the original.


however, the bass line must return directly to the intervals of the first chord.24 In the first case this is because the next tone below B does not belong in the first chord, and since B is a passing tone already, it certainly should be followed by a tone in the C chord. In the second case the same is to be noticed with A , where the bass likewise may not ascend to B. However, i f the bass ascends or descends in running sixteenth notes, even this can take place [Example 17].

Ex. 17

Just as the main consideration in writing a simple bass voice is not the passing tones, but rather only that the first and third notes harmonize well with the upper voice, so the same should likewise apply in writing the upper voice. Here there is an almost constant admixture o f passing tones, especially when the melody is in the singing style or includes stepwise [18] ascending and descending passages. Let us give a few illustrations of this [Example 18].25

Ex. 18 Passing Tones in the Upper Voice

/ 0 - f i P f f f r f r i i i - r S 1 f • r f n 11

J I j j J — 1

24 Daube categorizes unaccented neighbor tones (upper and lower auxiliaries) w ith passing tones because o f their weak

rhythmic position. There was general agreement am ong contemporaneous theorists about this terminology.

25 E x . 18: m. 3, upper voice, notes 2-3 are sixteenths in the original.


Here we see that the first note o f each quarter measure always belongs to the harmony o f the first chord. Later we will also show that if the first note has been heard once already, and subsequently occurs in this [rhythmic] position, it might also pass as an appoggiatura26 set against a bass which actually belongs with the second note. This, then, is the way to write a bass to the intervals o f the first chord. N ow in a harmony o f two equal voices mostly thirds and sixths will occur. Therefore, if the first voice has E, the second voice can have either C or G [Example 19]. I f the first voice has C , the other voice takes E, the sixth [below]. On the other hand, if the first voice should have G, the second takes either E, or else C , the fifth [below].

Ex. 19

[19] I f the first voice contains subdivided passing tones, the second voice can have just as many [Example 20].

Ex. 20

Imitations can also occur. If the first voice introduces a few passages, the second voicecan then repeat them while the first voice sustains a tone in the harmony of the first chord[Example 21].27

26 Daube categorizes reiterated suspensions (and accented passing tones) w ith appoggiaturas because o f their strong

rhythm ic position. Like Daube, many eighteenth-century German w riters used the term “ Vorschlag” to denote

prepared, reiterated dissonance, as w ell as the unprepared or free appoggiatura approached by leap. C . P. E. Bach says

that “ at times appoggiaturas (die Vorschldge) repeat the preceding note, at times they do not . . . ” ( Versuch (2/1759),

p. 64, Eng. trans., p. 87). See n. 43. In harm onizing a melody o f diverse note values, the recognition o f non-chord

tones in any rhythmic position is o f critical importance in determ ining the correct chords, whereas in elaborating a

1 :1 counterpoint to another species, the required consistency o f melodic motion may be achieved by adding either

arsic or thetic non-chord tones between the original pitches. Hence w hat Kirnberger - thinking contrapuntally -

calls an irregular passing tone (a transitional “ D urchgang,” w hich “ goes through” on the beat) (Kunst, vol. I

(177 1) , pp. 19 4 -5 , Eng. trans., p. 210), Daube - thinking harmonically - calls a “ stum bling block” appoggiatura

(a “ Vorschlag” w hich “ strikes before” the chord tone and may not easily be recognized).

27 Ex. 21: m. I, lower voice, notes 4-7 are sixteenths in the original.

Combining two voices 5i

Ex. 21

A ll o f these passages may be accounted for within the harmony of the first chord, for, as has been said already, the passing tones do not belong to any chord.

We hope that our demonstration o f two-part harmony in the first chord has been clear. A beginner should carefully reread this opening discussion o f two-part composition and draw up a few examples according to this prescription, so that in the future he w ill not find it difficult to comprehend artificial constructions either. We now turn to the second chord which shows even more variety since it is made up o f four intervals, as is known from the thorough-bass method where its root was indicated in every key. We want to continue with the key o f C major, in which the root o f the [20] second chord is F. This tone must harmonize with all three upper voices [Example 22].

Ex. 22

However, when the F itself is in the upper voice, the bass takes A [Example 23]. If two bass tones are needed for this F, the D can also be used. The fifth o f this chord, C , is seldom found in the bass except when it is held over from the root o f a preceding first chord, in which case the F can then also appear in the upper voice against the retained bass C .

Ex. 23


Two bass tones can be set to the sixth, D, or the fifth, C , when either o f these appears in the upper voice [Example 24].

Ex. 24

The bass parts derived from the harmony o f the second chord are rich in passing tones. These can occur particularly when the upper voice has sustained notes [Example 25].

Ex. 25 Passing Tones in the Bass

The four-part harmony o f this chord gives rise to these passing tones. To these is addedE, the tone below F. On the other hand, when the upper voice sounds passing tones in this chord, the bass usually remains on the root or its third [Example 26].

Ex. 26 Passing Tones in the Upper Voice

Here the procedure followed in the first chord is to be recommended, [namely,] that in those cases involving running passages, one should concern oneself mainly with the first note which, however, must be founded on the harmony o f the bass. N ow if two equal voices are to be composed, here again passages o f thirds and sixths should be considered. The location o f these intervals is evident from the chord itself. W hen the third is omitted from the chord, still there is always the sixth, and the reverse.

Ex. 27


Ex. 28 With Passing Tones in Both Voices

One sees [in Examples 27-8] that the tones F and A can be accompanied in thirds as well as sixths. W hen the C is part o f this harmony, it calls for only the sixth, A , whereas D, on the other hand, prefers only the third, F. And all this proceeds from the harmony o f this chord, as is further proven in the thorough-bass method. Imitation can also occur in this chord [Example 29].

Ex. 29

Whoever has insight into the richness o f melody w ill find it easy to arrange a great many various imitations.

The harmony o f the third chord, as is known, also has four parts, the root in this key being G. N ow if the tones o f the G harmony are sounded successively in the upper voice, the root can be set to each o f them [Example 30], all o f which is known already from our treatise on thorough-bass.

Ex. 30

J in. 2 . ba s s n o te c 111 o r i g ina l !

[23] Sometimes, for a change, the third o f the chord also must appear in the bass [Example 31]. However, should the two voices move in sixths or thirds, a procedure which is used for variety and in certain other situations, the remaining intervals also can appear in the bass. Even the F, for instance, can be set with a soprano B, if it has been preceded by the second chord.


Ex. 31

Otherwise the actual bass tones are the root, G, and the third, B. The rest of the chord tones more properly contribute to the bass melody. They are also employed when two bass notes are set to a long note in the upper voice. If the root descends a tone, the seventh o f this harmony, namely F, appears in the bass. W hen the bass forms a sixth or third with a long note in the upper voice, the following bass note can be either the root or its third [Example 32].

Ex. 32

Passing tones in the bass, when mingled with the tones o f this harmony, contribute to the formation o f the bass melody [Example 33] 28

Ex. 33 With Passing Tones

28 Daube repeatedly emphasizes the importance o f the bass melody, not only as a good harmonic foundation, but also

as a flow ing, cantabile line in itself. See, for instance, p. 82. O ther theorists also concern themselves w ith the forma

tion o f a cantabile bass line. C . P. E . Bach expresses the opinion that “ good bass themes, evolving naturally, are among

the master touches o f com position” (“ Ein gutes BaBthema mit einer ungezwungenen Ausarbeitung gehoret mit zu

den MeisterstQcken der Com position .” ) (Versuch (2/1759 ), pp. 322-3 , Eng. trans., p. 426). R iepel writes that the bass

“ must have a flexible, spacious (weitlaujigers) cantabile” (Anfangsgriinde, vol. I (1752), p. 18). Scheibe speaks o f using

first inversions to make the bass more “ singing” (Musikalische Composition (1773), p. 355), and Portmann encourages

inversions to create a light, natural, flow ing bass line (Leichtes Lehrbuch, (1789), p. 51).


W hen two equal voices are to be constructed, passages in thirds and sixths make a good impression in this chord also [Example 34] 29

Ex. 34

W hen a tone in the upper voice is sustained, the second voice sounds two or more tones against it. This also has a good effect [Example 35].

Ex. 35

W hen passing tones and chord tones are intermingled, the second voice may move either in sixths or thirds, with just as many passing tones as the upper voice, or else sound only the plain intervals o f the chord [Example 36].


The alternation o f passages in thirds and sixths produces a good effect, especially with two vocalists or wind instrumentalists. The imitation o f a running passage can be arranged in this chord also [Example 37].

Ex. 37

29 Ex. 34: m. I, upper voice, note 1 is dn in the original; Ex. 36: m. 2, upper voice, note 9 is c" in original.


The discussion o f these three chords can be very useful to an amateur composer. One sees here a complete correspondence to the thorough-bass method: how to write a correct bass to a melody and how the bass, through the inclusion o f passing tones, may be made melodic; likewise, how to construct two equal voices, knowing which intervals may be most prevalent there; and finally, how to arrange imitation.

We now turn to the [process of] combining these three chords in two-part composition, in which regard we must refer again to the explanation o f the key o f C major in the thorough-bass method, where we have shown the various ways in which these three chords can succeed one another.30

Ex. 38

A

In this example [Example 38] the three chords proceed in order until the seventh measure where the third chord follows directly upon the first chord, and then these two chords alternate until the end. In constructing a bass to the upper voice, one merely examines each melody tone to determine to which chord it belongs and, since some tones are found in two chords, one simply heeds the order o f succession o f the three chords. In the first measure here we find C and E in the upper voice. Both tones belong to the first chord and consequently, especially at the beginning, the root C , is used. The second measure contains D and C . Both o f these tones belong to the harmony o f the second chord, therefore the root, F, must be set in the bass. The third measure contains four tones, all of which belong to the third chord in C major. The root, G, or for a change its third, B, accompanies these tones. The fourth measure has two tones which, however, do not both belong in the same chord, and so two different bass tones should be set to them. The first

30 The next four examples constitute a set, in which Daube’s various elaborations o f the original m elody show traces

o f species counterpoint, w idely known through Fux’s Gradus (1725), Ger. trans., L . M izler (1742). In this example

Daube uses first species (1:1) and second species (2:1) rhythmic relationships; in the next, third species (4:1); the

fo llow ing hints o f fourth species (syncopated); the last is fifth species (free). A lthough this reference may seem

surprising in a galant context, “ species counterpoint was taken over bodily into the music o f the classic style. . . .

M uch classic music that is thoroughly galant in spirit w ill reveal a two-part counterpoint in the first or second species

when the elaboration is lifted away . . (Ratner, “Ars combinatorial p. 358; see also his Classic Music, pp. 109-13).


tone, E, belongs in the first chord, and the following A in the second chord. Therefore, the two roots, C and F, must be put in the bass. The third chord usually must follow the harmony o f the second chord, just as happens here when the subsequent soprano D is accompanied by G in the bass. Then E follows in the bass, because the upper voice has C. In the sixth measure F and D reappear, both o f which are found in the second, as well as the third chord. Here one would have the choice o f employing only one chord, namely the third chord, or using the bass tones from both chords. We [27] have done the latter, because in that way the succession o f the three chords takes place and the bass is made more melodic, while at the same time forming a cadence. The following C belongs in the first chord again, and the bass likewise sounds the octave C , an interval which occurs readily after a regular cadence. N ow the second chord is omitted, because the B is not a member o f it, but rather o f the third chord, and so the bass sounds D, the sixth [below]. This bass is good because o f the contrary motion [from the previous interval], and because it brings about [parallel] sixths with the following bass E and soprano C . The subsequent G in the upper voice could be part o f the first chord as well as the third chord. We have chosen the latter and put B, the sixth [below], in the bass. Since G appears once again in the soprano, the bass may very well accompany it with the root, C , the second time. The B in the upper voice once again belongs in the third chord, and the root, G , accordingly appears in the bass. The final interval must be an octave.

Now, in order to substantially increase the motion o f the bass line, one may simply introduce passing tones here and there, whereby a bass melody is also obtained. However, in doing this, one must make certain that the root or its third in each chord usually appears as the first, or at least as the third note. The melody also w ill be further improved if it is interrupted occasionally by short rests, o f which more is to be said in the future.31

Ex. 39

51 See n. 49.


Here [in Example 39] the bass always has four notes for each chord, with the first note being the root or its third, except in the seventh measure, where the bass D is a sixth below the soprano, which demonstrates that the bass may also ascend and descend [28] in thirds or sixths with the upper voice, chiefly because the third above the root is also present in these passages, as the following E and B here, which are the thirds above the roots o f the first and third chords respectively.

N ow if one wanted to vary the melody o f the upper voice by means o f appoggiaturas, which were to be written as large notes, the bass nevertheless could remain as it is, despite the many dissonances that then would be heard against it. For the amateur’s pleasure we would like to include this example also [Example 40].

Ex. 40

These appoggiaturas or retarded tones already have been described on page 97 o f our thorough-bass method. The practice o f using them is good, yet must not be carried to excess. They can contribute to the enhancement o f the melody, but also to the weakening [of its quality]. On the other hand, whoever knows how to vary a simple melody well, can make even the poorest melodic line attractive. Since the entire art o f variation also originates in the three chords, we want to give a little sample o f it [Example 41].

Ex. 41

Vivace

[m. 1, upper voice, the dots are missing in the original; m. 9 , upper voice, the final appoggiatura is b' in the original]

[29] The preceding groundwork is as simple as possible, because it is meant to serve only for the study o f two-part composition of the type in which a bass accompanies

the upper voice. We have endeavored to improve this upper voice to some extent through the addition o f appoggiaturas. N ow this improved melody has been varied according to


the harmony o f the three chords, resulting in a tolerable melody. Since the melody includes skipping passages, a running bass may not be used here. For this reason we have kept the original plain bass. Oblique motion is best in such cases. We have pursued this example diligently for the purpose of giving the amateurs a little foretaste of what we promised about the invention o f melody at the beginning o f this w ork.32 Therefore, a beginner in composition should not become impatient if his essays do not immediately turn out well for him, particularly where the melody is concerned. This can soon be improved with ambition, time, and a good introductory method, especially when diligence is coupled with a desire to compose.

In constructing a bass to the usual melody, one must pay special attention to the place where the melody modulates into another key, in order to locate the melody tones in the three chords o f the new key as soon as possible. Notice, in doing this, that the harmony o f the new third chord must precede the first chord in that key.

Ex. 42

Poco andante

[30] Here [in Example 42] one does not clearly perceive where the key changes, unless it might be at the cadence in G major. N ow and then in the thorough-bass method it was said that, in keeping with the natural course o f the melody and harmony, one could not proceed to another key until the first chord o f the old key had been heard. N ow since

52 Daube is referring to the projected fourth volume o f the Dilettant series, w hich finally appeared w ithout that title in

1797/98 as Anleitung zur Erfindung der Melodie und ihrer Fortsetzung.

6o The Musical Dilettante

this chord appears in the fourth measure, the melody and harmony o f the fifth measure can already be considered to be in the key o f G major. Therefore, the C and A in this measure belong to the harmony o f the third chord, especially since the preceding C-major chord bears a great resemblance to the second chord in G major. The intervals o f the first chord in the new key are introduced already in the sixth measure. In the eighth measure another change takes place. The F appears and is retained. Here one could regard such a continuation o f the melody as a movement back into the key o f C , if the ninth and tenth33 measures were not repeated once more a tone lower. Because the G-major chord is indicated in this repetition in the twelfth measure, the tenth measure can just as properly be part o f the first chord in A minor. N ow it still depends upon where the harmony of the third chord is located since, according to our rule, it usually should precede the first chord. At least the main indication o f the key must be there, namely the new sharp. N ow since the ninth measure contains three tones, o f which the latter two are in the third chord o f A minor, the first tone, F, which is not in that chord, must be considered an appoggiatura to the main note, E, or else a chord which also contains the F must be sought. Should the former alternative be preferred, C could be placed in the bass, and the F in the eighth measure would then be from the harmony o f the third chord in C major. This phrase would be correct, but the transposition to B minor which would subsequently have to take place cannot ensue because these two keys are much too distant from one another.34 We have chosen the other alternative, all the more since it promotes the natural melodic line o f both parts. It is known that minor keys have another chord, namely the diminished seventh chord, and it is this which here takes the place o f the third chord in A minor, since they are differentiated by only one tone. Its root is G-sharp, which indeed is always the main indication o f the key o f A . Therefore D, the first tone in the [tenth] measure, may pass for an appoggiatura which, strictly speaking, is given no separate bass. The eleventh measure, due to the retention o f the E, can be regarded as the compound major seventh chord o f G major, or else as the harmony o f the third chord in G major, if we want to consider the retained E in this measure as an appoggiatura, just the same as the one in the next measure. [31] The D in the thirteenth measure and the A in the fourteenth measure are to be regarded as appoggiaturas also, which is why the bass disregards them, taking its cue from the following note instead. If an amateur considers the bound or retained tones from this point o f view, he will very soon arrive at an understanding o f the derivation and position o f the ninth, and o f those sevenths and other harmonies which are not naturally situated in our three chords.

There are also appoggiaturas which consist o f half steps that are not tones indicative of a new key [Example 43].

55 “ eighth and ninth” in the original.

34 Vogler likewise recommends avoiding modulations more than one sharp or flat distant (Tonwissenschaft (1776),

pp. 70 -73). It should be noted, however, that Vogler is concerned mainly w ith unity in the conservative church

style, Daube w ith directing the beginner as simply as possible. Contemporaneous music certainly contained bolder

key relationships than these, and Daube’s earlier General-Baji (1756) deals w ith all o f them.


Ex. 43

The key o f C major, as is known, has no sharp nor flat, and yet both can occur in that key without the melody modulating into another key. These accidental sharps and flats appear as appoggiaturas. In view o f this, the bass never harmonizes with them, but rather with the following note, even though its value makes it much shorter than the appoggiatura. Here F appears at once in the first measure where, despite the fact that it naturally belongs in this key, it is regarded as an appoggiatura, in that the subsequent E is the main note to which the bass is set. This appoggiatura occurs here only to fill the space between the opening G and the E, and this is done by the F in between. The F-sharp which occurs in this same measure is an appoggiatura to the following G, and therefore the bass conforms to the latter, and the [presence of] the F-sharp is likewise disregarded. The last note in the second [32] measure is a passing [C-] sharp which subsequently is used as an appoggiatura to D. Therefore one again considers the following note, D, which calls for F in the bass. At the very beginning o f the measure, however, this F is set against the C-sharp, but viewed as if the D were there instead o f the C-sharp. N ow this tone is the root o f the second chord, and so, according to the aforementioned rule, it must be followed by the root o f the third chord or by another bass drawn from this harmony, i f it is to be done strictly according to the nature o f the key. Meanwhile, the tone A is retained in the upper voice and makes another appoggiatura to G, but this does not affect the bass voice here either, since it always completely disregards the presence o f the appoggiatura. In the fifth measure two sharp appoggiaturas appear and are dealt w ith in a similar manner.

Appoggiaturas marked with a sharp are always slurred upward a half step to the following tone. On the contrary, those appoggiaturas marked with a flat are slurred downward a half step to the following tone.

Ex. 44


Ex. 44 (c o n t.)

In this example [Example 44] there are three flat appoggiaturas which come about in a merely incidental way, and therefore are not treated according to their derivation, but rather, as was said, are accompanied by that bass which really belongs with the next note. The treatment o f appoggiaturas is one o f the main points confronting the amateur composer. They are the [33] stumbling block o f many who are not yet thoroughly proficient. Then there are also short passages, or so-called ornaments (Manierett), which include both the sharp and flat appoggiaturas described here [Example 45].

Ex. 45

These appoggiaturas which occur in rapid succession are more pleasing if they are performed quickly rather than slowly. Yet the appoggiaturas found in the first measure can more readily be expressed rather slowly, because the first appoggiatura consists o f a whole tone, to which the ear is naturally accustomed. The bass C harmonizes with only the second and fourth note, G, while the first and third notes here again are regarded as absent. The [first] half o f the third measure combines the two types o f appoggiatura described previously, and the bass F is set to the second and fourth notes. The same thing is found in the fourth and fifth measures. The main rule for the knowledge o f these different types o f appoggiatura, and for a well-founded bass setting o f them is the following: set the bass according to the order o f succession o f the three main chords, except when the melody occasionally requires that the second chord be omitted from the accompaniment, which is easily determined either by the tones o f the melody, by the preceding or succeeding chord, or, with a little training, ultimately by the ear.


[ 34] A F E W G E N E R A L R E M A R K S P E R T A I N I N G T O T H E C O N S T R U C T I O N O F A B A S S

For the beginner’s sake, we want to review very briefly the fundamental principles of two-part composition as follows. A beginner should choose any key he pleases, even if it might be the most difficult to realize or play on an instrument. Then, in accordance with the explanation given in our thorough-bass method, he should examine the key to locate

certain tones from all three chords in both the upper and lower registers. After this, he should set in the bass either the root, or its third, which corresponds to each tone now found in the upper voice. I f he wants the upper voice to move with the bass in thirds, sixths, or a combination o f both intervals, he has only to observe which tones call for the sixth or the third, as is always indicated by the harmony o f the chord. It is to be noticed further that the bass for the first note in the opening measure should be the root o f the first chord, even if this happened to be the octave o f the upper voice. If a formal cadence takes place at the end, the last bass note must likewise be the octave o f the upper voice, namely the root o f the first chord. The reason for this is that the unison and the octave are the most perfect consonances, indeed, in a certain sense, they are but one. N ow since these intervals have the best ratios, and thus take priority over the other consonances, and great priority over the dissonances, it is appropriate to use them for closing and likewise for beginning a piece when the melody o f the upper voice requires it. For example [see Example 46], if the first note in the upper voice were A , one would, following this advice, set A in the bass also. If C-sharp were to occur above, one would immediately see that this tone, since it is to be found in neither the second nor third chords, belongs in the harmony o f the first chord. Further, should one see B, which is in both the second and third chords, one would merely have to determine whether it is followed immediately by A or C-sharp. If one o f these two tones occurs, B belongs to the harmony o f the third chord. But if the B is either sustained or repeated [m. 3], or if it is followed by G-sharp, the first half (or the first note if it is repeated) is included in the second chord, and the second half (or the repetition) is included in the third chord. If G-sharp follows, B is accompanied by D in the bass, and G-sharp is accompanied by E [m. 5]. The same situation exists with the D also, since this tone belongs in both the second and third chords. Therefore, one merely determines whether the following tone belongs to the harmony o f the first or the third chord. [35] If it is the latter, the D must be accompanied in the bass by the octave or its third from the second chord. If on the contrary, the D is followed by a tone from the first chord [m. 8], it must be accompanied by the root, E, or its third, namely G-sharp, from the third chord, unless a formal cadence succeeds this D, in which case the harmony o f the second chord w ill accompany the D (but in a two-part piece a bass D or F-sharp), whereupon a bass E is set to the subsequent C-sharp in the upper voice. This E is repeated because B or G-sharp must follow the C-sharp or A in the upper voice, i f it is to be a [formal] cadence.35 Furthermore, the tones A and E also appear in two chords. Here the very next tone always gives a clear indication

35 A perfect authentic cadence involving 1$ as in mm . io - i i o f E x . 46. N ote the reference to the soprano-bass octave

earlier in this paragraph. See also p. 79.

of the harmony to which the previous tone belongs. An example will reinforce what has been said [Example 46].

Ex. 46


5

Experience shows that the third chord or its intervals must always be followed by the first chord, except in a deceptive cadence. A ll good, natural melodies should also be based upon this [principle]. The only exception permitted would be a harmony consisting of simple progressions in thirds or sixths [Example 47].36

Ex. 47

Here is the exception at the beginning o f the second measure. The melody, instead of going to C at the end o f the first measure, goes to A , which is the lowest third o f the second chord. The following progression in thirds proceeds along the same lines until the end o f the fourth measure, whereas the subsequent sixths in the seventh measure

36 Daube’s other exception to the normal “ order o f succession” o f the three chords occurs “ when the melody occasionally

requires that the second chord be om itted.” See p. 62. O ther variants include deceptive cadences and “ artificial

resolutions” (i.e., resolutions involving accidentals). E x . 47 : m. 7, beat 3, figure was 6 in original. E xx . 4 7-8 : mm . 8,

the bass has w hole notes in the originals.


proceed in the order o f succession o f the three chords. N ow when such a succession of tones appears in a melody, there is nothing better to do than to set the bass to it in sixths and thirds. Even in doing this we find that the natural melodic line itself would suffer, and that in setting a melody which goes against the order o f succession o f the three chords, one would very seldom produce anything o f merit. Indeed, one would inevitably come across a hundred good melodies all composed according to the natural order, before finding a single one which runs against or contrary to it. We will demonstrate this even more clearly in the future, when we discuss the invention o f melody.

The melody o f the foregoing example can be improved by simply replacing the A in the second and fourth measures with C , but then the bass must be altered accordingly [Example 48].

[37] We see that the initial melody is capable o f imitation, because, [on the one hand] the C and G in the second measure are also found in the harmony o f the first chord, and because, on the other hand, the first and third notes o f the first measure form a very suitable bass for the second measure, since they are also taken from the harmony of the first chord. In the same way, imitation finds a most favorable opportunity in the third and fourth measures, and could even be continued to some extent in the fifth and sixth measures. In short, the entire process o f combining these two voices is based on the natural succession o f the three chords. Yet a beginner has to notice that the three different motions which were discussed previously are observed even in two-part composition, whereby melody and harmony are combined properly from the beginning, and the listener is provided with a beautiful variety upon which the life o f a piece depends.

We now want to consider briefly the style which is composed o f two equal voices.37 If a countermelody is to be set to an [existing] melody, one proceeds again as above, except that the second voice is written in the same violin or piano clef etc. as the first

37 O f special interest in this medium are the Seeks Sonateti f i ir zw ei Oboert by Juan Bautista Pl«t, one o f tw o famous

Spanish oboist brothers, colleagues o f Daube at the W iirttem burg court. (Schott Edition 5898.) E x . 48, m. 8, bass

has whole note, and ex. 49, m. 4, upper voice appoggiatura is d ' in originals.


voice, whereby the intervals or harmonizing tones are brought close together. One determines to which chord the different tones o f the melody belong, and then sets in the second voice a harmonizing tone from the same chord, which can be either the third, sixth, or else sometimes the fifth, fourth, indeed even the seventh, as we have pointed out already in the explanation o f each chord.

Ex. 49

The beginning [of Example 49] demonstrates that the second voice might very well move in thirds with the upper voice. The end o f the second, and the continuation of the third and fourth measures present a succession o f sixths. Because the sustained D in the fifth measure belongs in the second and third chords, the other voice also may be allowed to have tones from both chords, as happens here. [38] The following melody [Example 50] is also suitable for a succession o f thirds and sixths. The previously described three motions o f music are to be observed most strictly here also. The occasional whole- or half-step appoggiaturas which arise during a progression o f thirds or sixths occur in both voices. However, if the second voice has the root, namely a fifth or fourth [below] etc., only the upper voice sounds the appoggiatura.

Ex. 50


The D with the appoggiatura in the second example belongs to the harmony o f the third chord, so for a change the second voice can sound the root, G, which does not take an appoggiatura unless it were to be made from below by holding over a half-step F-sharp. In the next measure A is in the upper voice, while the second voice has the root,F, because both voices belong in the harmony o f the second chord.

Before we conclude this discussion, we must still consider briefly the extraneous harmonies caused by the retardation and the anticipation. These already have been explained on page 97 o f our thorough-bass method, and their origin has been shown on page 100. They can also occur in two-part composition, in fact, to even greater effect than in composition in four or more parts. The reason for this is that here only one tone can be discordant instead o f possibly several.

Ex. 51

Retardation

[In Example 51] E, G, and B are retarded in the first example, C and E in the next. N ow since the second voice proceeds by half measures, while the first [39] remains behind, the resulting delay gives rise to various intervals not naturally included in the three main chords.

But if the first note is shortened by half, and is advanced to its neighbor tone while the other voice proceeds according to its true note values, a harmony sometimes results which likewise does not naturally belong in this key. This displacement o f notes can occur in ascent or descent in either voice [Example $2a-b], but not in both at once unless a third voice were present.

Ex. 52


Ex. 52 (co n e .)

(b)

[b: m. 6, the lower voice has b' in the original]

It quite often happens that one comes across a melody containing such side-slipping of tones, which certainly creates a pleasant effect. Here one considers only the first note in the first voice, and then sets a harmonizing tone in the other voice according to our instructions. N ow these two voices may constitute the interval o f a third, seventh, fifth, etc. This is all the same. Even a succession o f fifths is allowed here, i f one voice is advanced to create sixths [Example 53].

Ex. 53

[40] These passages are more unusual. They must be handled carefully. The progression o f the second voice is not always determined in this case from the first note o f the upper voice, since the second note, which otherwise is but a passing tone, must sometimes be considered also. The first example illustrates this. The second C , together with the following D, and the F in the second voice, is in the second chord in the key of C major. The tones under the next two slurs, namely D -E and E -F are not found together in the same chord [anywhere] in this key. Therefore, the first tone under each of these two slurs is considered to be a retardation. But the following two tones, namely F and G, again belong together in the third chord, and are accompanied by B in the second voice. I f the retarded notes were crossed out, this example would consist o f a simple succession o f sixths.

In this discussion we have stated and demonstrated that the tones or notes of an upper voice comprise three different classes. Either they are tones to which another voice must actually be set under the guidance of the three chords. This always concerns the first of two notes o f equal value. The second class consists o f appoggiaturas which are slurred to the proper tone and are given no bass or separate harmony, except in the aforementioned case, that is, in progressions o f thirds and sixths with two equal voices. This, once

Combining three voices 69

again, concerns the first note, which either is retained from before, or else appears as an appoggiatura to embellish a long note.38 The third class consists o f passing tones, which likewise are given no bass or complete harmony. If they are accompanied, again, it is done in thirds and sixths. These are always the second of two notes of equal value.39 The proper position o f each tone in these three classes has been clearly explained. Retardations also belong here, that is, in the second class. Anticipations are included in the third class.

4

COMBINING THREE VOICES

This discussion is one o f the most important in the entire [study of] composition. Whoever knows how to combine three voices well, w ill likewise find it easy to construct a harmony o f many voices. The main harmonic framework depends upon three-part

composition. Indeed, [41] the entire effect of the harmony proceeds chiefly from that basis. It can conveniently be divided into two classes, natural and artificial construction.40 In the former class all three voices are merely drawn from the three chords, and the upper voice constantly asserts its authority as the primary voice, while the second voice neither ascends above it nor introduces anything concerting or imitative, but simply proceeds with the bass according to the rules o f harmony. In this way, the melody of the upper voice is never interrupted. One sees many pieces o f this type, even by renowned masters, in which neither the second voice nor the bass have any imitation. The second class, on the contrary, is a product o f the aforementioned artificial construction. Here nature and art must be united to produce true beauty. The second type is characterized by the three motions o f the voices, the imitation o f a melodic m otif in all three voices, concerting in some passages, the alternation of the brilliant and singing styles, beautiful symmetry or division o f the main melody, along with the varying o f the harmony by means of forte and piano.

Let us take up the former type first. Here it is necessary that we re-examine each chord separately. The amateurs of the preceding discussion w ill consent to this more readily since one is dependent on the other.

The first or ruling chord has the most perfect triad. The effect of this harmony is the best and, although it differs in accordance with the instruments that are used (for two violins and a violoncello make a different impression than two flutes etc., two oboes,

38 Thus Daube also refers to reiterated suspensions and accented passing tones as appoggiaturas. See n. 26.

39 Thus Daube also refers to neighbor tones (upper or lower auxiliaries) as passing tones. See n. 24.

40 See n. 12 , and pp. 87-8.


two horns, etc.) yet, as was said, it always produces an effect better than that o f the other two chords. N ow if E from this chord occurs in the melody, the bass for it w ill be C , and the G which is still available in this chord is left for the second voice [Example 54]. If the upper voice has G, the second voice is given E and the bass, C. If C is found in the melody, E is put in the bass, and G again in the second voice. Sometimes the lower octave C also goes with an upper C in the melody, in which case the second voice takes E.

Ex. 54

[m. 4 , the two upper parts have quarter rests at the end in the original]

We see here once more that the alternation o f passages in thirds and sixths might be put to good use between the two upper voices as well as with the bass itself. The remaining considerations pertinent to this first chord have already been explained in the preceding chapters. Still, we might say here that the root, C , may be sustained in the bass as well as in an upper voice, while the harmonies o f all three chords are heard one after another, provided that [the succession] commences and closes with the first chord [Example 55]. The same freedom may be taken with G also. The reason is that both tones are found in two chords: C in the first and second; and G in the first and third.

Ex. 55


Oblique motion is the basis of these phrases. Another example can be found in the foregoing explanation o f the three motions of harmony.

The second chord, as is known, consists of four tones. I f D occurs in the melody, the bass has the root, F, and the second voice takes C if this tone precedes it, or A [Example 56]. But if C occurs in the upper voice, A can be set quite suitably in the second voice while the bass retains F. If F is found in the melody, the bass sounds either A , or else another F, leaving D or C for the second voice. If one finds A in the upper voice, the second voice is given C and the bass retains F. The tone D comes in the bass when preceded by F, since it then provides variety or contributes to the formation o f a melodic bass line. C appears in the bass i f it was already on that tone during the previous chord.

Ex. 56

[p~ r 0 - — “ =

11 | J „ ■ j -■--

M* fJ 9

11 V

1— [---1--

6 'crm = *

Lp = \___________

§ = 5 = J = 5 = IM r ......................... ......

r r r ii 0 = 1V

H ? ? \ = *

-i---p----------------------

5---11-“----------- --- 4|2---n--------------- 4

p r ' II U J u , 1 1 U 0 1

These seven previously described examples all have their basis in the succession of the three chords. They consist o f the alternation o f passages in sixths or thirds, which always requires two voices. In constructing three-part examples it is well to make certain that all three voices do not always proceed at the same rate o f motion. The possible alternatives


consist o f one voice proceeding, while the other two voices move at a slow pace; two voices progressing at the same speed while the third moves twice as fast; and also, one voice proceeding slowly while the other two move rapidly.41 Only toward the end or the conclusion [may all the voices] have the same rate o f motion.

Since the third chord is likewise four-part, one once again has a choice of using either the third or fourth tone in three-part composition. The most reliable way is to take the second voice to the tone nearest the preceding one, or even to keep it where it is already. N ow if G is situated in the upper voice, either B or G can serve as its bass [Example 57]. In the first case, the second voice takes D, or F if it was on this tone previously. In the other case, it can have B as well. If D is in the melody the second voice is given B and the bass, G. However, if B is in the upper voice, .then the bass may take G or D, the sixth [below], while the second voice is given 15 in the first case, and F or G in the second case. If one sees F in the upper voice, the bass must go to either G or B while the second voice takes D. If a bass F should precede this chord, it may likewise remain stationary in this harmony, where it then is looked upon as having the same status as the G itself. In this case, the two upper voices can be on D and B, or G and B. This inversion o f the bass is quite frequent nowadays.

Ex. 57

b p r ~ i

O O 0 9 0 j

r r

O p

a

f : r

J A —& ------------------—n --------- ~-rrrz

t f r - - 1

p "p -1

c ' rJ 1J II = 1

* 3 = sJ J i

r r 1 1 0 - -

r f u

f - r ~ -

41 This gear-like rhythmic differentiation o f voices (recommended in several contexts) recalls the mechanical orientation

o f the century, w hich nourished a fascination w ith clocks and machinery. M usically it suggests a vestige o f species

counterpoint and Baroque rhythm ic relationships, although most o f Daube’s longer, free-style examples do not carry

them through at length. (See, however, E x. 78.) This suggestion could not be considered common in late eighteenth-

century com position manuals, but it is offered by R iepel in Anfangsgriinde, vol. II (1755), p. 87. See also p. 170.


These seven examples were described above. If one peruses the key o f C major in the thorough-bass method, one w ill find all these inversions o f the harmony o f the three chords. The principle is the same.

Therefore, let this suffice for the manner of writing three parts within each chord. We now want to show how these three chords succeed one another and take place alternately from the beginning to the end [Example 58].

Ex. 58

i r r f f |Jr 0 0p M r =j

. ,.rf= ■■■ — Tp M ML J r m=n

r ■ - _ i i — 6 4-Ji

65

k J r r r

Q r f g fs 10r rp- 1 1 ' i t r „ - r» r f *

■j— 1— j j j 1

r " ^- 1- - - - :-- =Tr 1 1 r

6 6 3 5

L_| |o__ - - L _ m—#1_ (J . r r 1l[- - - - f i l l ~ r-^ J J r r r

[m. 12 upper part, a half note in the original]

Since this example contains nothing other than the simple succession o f the three chords, it w ill be easily comprehended by an amateur, provided he understood the explanation o f each chord. One sees that the harmonious triad has been retained throughout the example, and even its occasional absence is due to the melodic requirement of one or another voice. The harmony should not be incomplete whenever the full harmony can benefit the melody of any voice. On the other hand, if the complete harmony is detrimental to the melody and hinders the nature o f a voice line, it is better that the harmony forfeit an interval. This is demonstrated in the first measure. The upper voice begins with C and ascends two tones. The bass also begins with the root, an octave from the upper C . Therefore the second voice should sound E or G here, but since neither of these tones forms a good melody for the second voice, it is better, especially at the beginning, for the piece to open w ith only the octave than for the melodic line to suffer on account o f the complete harmony, all the more so since the third above the root is supplied at once by the quicker progression o f the bass, which improves the empty harmony to some extent. The bass F in the second measure is held over into the begin


ning o f the third measure, whereby this tone is looked upon as having the same status as the root o f the third chord. In the fourth measure a rest occurs in both upper voices, but the bass continues alone with rapid notes so that the movement w ill not be interrupted. The tone that is subsequently tied over in the upper voice provides an opportunity for the other two voices to progress at an equal pace through an alternation o f thirds and sixths. On the second quarter o f the seventh measure, the second voice preferably goes to the octave C , for the sake o f the melody, rather than completing the triad by [47] going to G. This tone is still missing in the next measure. The first quarter contains only the octave, but then the bass rests while both upper voices proceed together with intervals o f the ruling chord. N ow [m. 9] the preceding four measures are repeated, except that the upper voices have exchanged their melodies. The sustained G o f the upper voice is now an octave lower in the second voice, while the first voice sounds the melody previously heard in the second voice.42 This explanation is certain to be o f use to an amateur composer if he reads it attentively and compares it with the example itself. He w ill see how natural three-part composition is to be handled, and how the chords conform to the upper voice, alternating among themselves, yet always according to their order of succession.

Now let us take up this example once again, and accompany it with other voices, so that the beginner may see that a given melody might be treated in different ways. A melody with a wide variety o f note values can likewise have various harmonies set to it, all o f which are correct according to the rules o f composition but different in effect, as has been mentioned above. The main rule in large pieces is never to interrupt the melody of the first voice, or to hinder it at all with the harmony. Accordingly, it is a great mistake for the second voice to cross above the first voice occasionally, except in concerting passages, where the two voices are supposed to alternate.

Ex. 59

42 Here Daube inform ally introduces the technique o f invertible counterpoint, discussed in Chapter n .


The harmony here [in Example 59] shows more variety than in the previous accompaniment. The rapid movement of the two lower voices has given them a life o f their own, whereby they aid the main melody itself by making the few quarter notes seem all the more brilliant. The alternation of fast and slow tones contributes significantly toward heightening the effect o f a melodic line. The bass remains stationary in the second measure, despite the presence of the second chord to which the root F really belongs. However, we have said several times before that if the preceding bass note were also present in the harmony o f the very next chord, it then could be retained because, by virtue of the preceding root, it would have acquired the same status as the proper root. All three motions of the harmony are also to be found in this example. The first measure displays oblique motion, with the first voice proceeding slowly and the other two voices rapidly. Parallel motion also occurs, where the second voice and the bass move together in thirds. The second measure contains oblique motion, but then the third measure already exhibits contrary motion, since the second voice descends and the other two voices ascend. Contrary motion o f the voices is very evident from the ninth measure until the end. The two upper voices ascend in parallel motion in thirds, while the bass descends, not reascending until the penultimate measure where the upper voices descend again. Something more is to be said regarding the harmony o f the ninth and tenth measures. In the former, A appears in the bass. This tone is the third beneath C , and since the upper C is also to be found in the second chord, an A may very well be set in the bass, especially because it contributes to the bass melody.

[49] The following measure [m. 10] has D and C in the bass, although a beginner might not be able to guess why they are there. The D in the bass is a passing tone here, since E is the main note; the following C is from the harmony o f the second chord, as is the first half of both long notes, D and F, in the first and second voices. The harmony of the third chord immediately succeeds this inversion of the second chord. An exchange (Verwechslung) o f intervals also takes place in this example.43 In the third measure, the second voice has D, which is used here for the formation o f the melody o f this voice. Actually it should follow the C , because it is only a passing tone which does not belong in this harmony, but it nevertheless is placed in front of the C , which can be called an exchange.

However, if the melody includes tones which belong in different keys, these foreign sharps or flats must be treated according to their own key. Ties can appear, and similarly the opportunity to bring about the deceptive cadence can present itself, since all of these occur quite often in three-part composition, as here [Example 60]:

43 T his idea o f “ exchange” (instead o f Daube’s usual term, “ Vorschlag” or “ appoggiatura,” for an accented passing tone)

hints o f ars combinatoria, in w hich objects are rearranged in as many ways as possible. (See nn. 9 and 87.) R iepel, who

discusses non-chord tones in connection w ith counterpoint, uses the term “ verwechselte Noten” for accented or

thetic passing tones, apparently because the consonance or chord tone w hich w ould normally occur on the strong

(part o f the) beat has been exchanged (verwechselt) for a generally dissonant ornamental tone (Anfangsgriinde, vol. V

(1768), p. 10). Sim ilar usages occur in Portmann (Leichtes Lehrbuch (1789), p. 36), Petri (Attleitung (2/1782), p. 164),

and Scheibe (Musikalisches Composition (1773), pp. 266, 282). See n. 26 and the Introduction, p. 22.


Ex. 60

Andante

[50] In constructing compositions o f three and more parts, it is essential to set a well- founded bass with the melody at once, even before working out the second soprano voice. However, since no rule is without exception, one can be made here also, especially with artificial composition in three parts, which w ill be treated later.

In the first measure the, melody has a G, the first half o f which accordingly belongs in the harmony o f the first chord, whereas the second half is regarded here as a retardation, or as an appoggiatura to A . From this point o f view it is given the root, F, which really belongs with A , and the second voice has D and C , which are from the harmony o f the second chord. The third measure has an F-sharp. This tone has been borrowed from the harmony o f the third chord in G major, which is why the corresponding harmony is also employed. The second voice takes D, and the bass retains the previous C , because this tone naturally occurs in the borrowed chord. N ow since it belongs in G major, it must be followed by its first chord, or at least one similar to it. Both occur. The ruling chord in G major now appears, immediately followed by F again in the melody, which indicates that the original key o f C major may have returned, because the F is from the third chord in that key. This F, together with the D a third lower, is retained into the beginning of the fourth [measure].44 The bass disregards the retained tones and sounds C against them. These two tones can be called retardations as well as appoggiaturas, and are treated as if E and C were there instead. Therefore the half step before G, namely F-sharp, is set with the following E and C . The origin o f a seventh such as the F-sharp to E here is found in the division o f a long note, since the lower third is put with the first half, and the lower

44 “fourth chord” in the original.


seventh with the other half, so that in this way the alternation o f consonance and dissonance might always be possible. Whoever takes a liking to such three- and four-part settings, w ill find more o f them on page 424 in our thorough-bass method. Something new is introduced again in the sixth measure. The B-flat in the melody belongs in the third chord o f another key and, designated as such, the following A and F are properly seen as being in the ruling chord in F major, and preceded by the corresponding third chord. But here the B-flat is an anticipation. The first half o f it should still be a B-natural, as was the previous tone, but the B-flat enters early. This setting is justified by the similarity o f the C-major chord and [51] the third chord in F major which contains the minor seventh, [C to] B-flat. The second voice and the bass also attest to the presence o f this chord. The reason is that the ruling chord in C major and this third chord in F major, as was said, are rather similar to one another. Therefore the melody could quite properly sound this B-flat even though the other two voices were set according to the harmony of the first chord in C major. The three motions o f harmony are alternated throughout this short example. A deceptive cadence is presented in the eighth measure.

The entire difference between this and the authentic cadence is that after the third chord with the seventh, the bass, instead o f going to the root o f its ruling chord, goes to another tone which does not belong in this chord at all, just as happens here, where the bass goes to A instead o f C. After this unfamiliar harmony, however, the first chord in C major immediately reappears, and the succession o f the proper three chords in the original key continues from here to the end.

The harmony is made more difficult for a beginner if still more chords which belong in other keys are found in the upper voice, even though nothing other than the natural succession o f the three chords occurs. We also want to show an example o f this [Example 61].

Ex. 61


This example has been drawn up merely as an exercise in harmony. The first chord, which begins with the complete harmony, is followed directly in the upper voice by a G-sharp, which is an indication o f A minor, and the harmony is arranged accordingly. The bass descends in contrary motion to B, the sixth [below]. Next, according to the natural succession, must come the first chord in A minor. This occurs and is immediately followed by F-sharp which, since it does not belong in A minor, indicates here the key o f G major, in which it is the major third o f the third chord. Meanwhile the bass sounds the proper root, and because the seventh, which is C in this case, is always present in the third chord, the previous C can conveniently remain stationary here also. The ruling chord follows. Another modulation occurs with the following E in the upper voice. This E tells us that the harmony o f the ruling chord in C major could accompany it, all the more since the preceding G-major chord bears a great resemblance to the third chord in C major, and because the minor seventh, F, appears in the upper voice. The harmony has been arranged accordingly. However, since E, as well as the following F, are retained in the upper voice, the composer here has an opportunity to introduce chords foreign to the key, in order to show that it is possible to go through other keys by means o f the inner voices. This also effects a change, so that the harmony might not continually remain in the same key, and that all the more, since at the very beginning the upper voice provided the opportunity for key changes o f this kind. N ow to construct foreign harmonies to an upper voice, one simply looks through the related keys to see whether the tones in the upper voice might not be found there also, and one is guided accordingly. [53] Here the E remains stationary and the first half is already harmonized. The other half o f the E is also found in the second chord in G major, but because the harmony o f the third chord does not follow, one must look elsewhere for this tone. It is the third chord in the key of D minor which could be used here, because an F follows as the third o f its first chord. Thus the second half o f the E in the upper voice is given C-sharp in the bass, as the indication o f this new key. The second voice sounds G and then A , as the other tones of this chord. Thereupon it resolves into its ruling chord. The situation is similar with the second half o f the tone F which remains in the upper voice. Here one again must determine which closely related key contains F in the second or third chord. An F is found in the second and third chords o f C major, but since it is much too soon to return to the original key, and there are certainly several other keys in which this tone is found, it is preferable to choose the extension instead. It is the compound diminished seventh chord in A minor which is suitable here, with G-sharp in the bass and the third, B, in the second voice. The following E in the upper voice [m. 6] assumes the harmony o f the ruling chord in A minor. Hereupon the upper voice has G, which is not found in A minor (except in passing), and thereby obliges one to search anew for his accompaniment in another key. Although the proper indicative tone45 is not present, the key nevertheless is apparent from the subsequent F, which is from either the first chord in F major or D minor. That it belongs in the latter key can be perceived from the fact that the third

45 Daube’s term is “ der anzeigende Ton,” the note which indicates the key (i.e., leading tone). He consistently uses

words related to “ anzeigen” (to indicate) for this purpose. O ther examples are “ der Hauptanzeiger” (main indication),

p. 60 , and “ der Anzeige” (indication), p. 193.


chord in D minor bears a considerable resemblance to the first chord in A minor. Thus C-sharp is put in the bass and E in the second voice. This then resolves into its ruling chord, whereupon the corresponding third chord reappears. The C in measure [eight] then provides another opportunity for modulation. If F-sharp is set with it in the bass, and A in the second voice, they produce the harmony o f the third chord in G minor, just as was done here. The corresponding first chord follows, and the second half [of the measure] allows another modulation. The B-flat is found in the third chord o f F major. The following A , which quite reasonably can be the third o f the ruling chord in F, indicates that this harmony may also be chosen. Thus the bass for the sustained B-flat can be C or E, while the second voice takes G. The similarity o f the ruling chord in F major to the third chord in B-flat major shows that the following E-flat46 [54] in the upper voice belongs in this harmony. The bass can have F or A , and the second voice the remaining note o f this third. After the ensuing first chord in B-flat major, the partially similar third chord in C major can return, because the D remains stationary. The bass ascends a half step to B, and the second voice goes to F or G. Measure [twelve] contains E and B-flat, the first tone o f which belongs to the harmony o f the ruling chord in C major, while the other is part o f the third chord in F major. The two chords have a considerable similarity, thus this modulation also occurs easily. This seventh, and the following A in the upper voice, cause the bass to ascend one tone in contrary motion, thereby giving rise to a deceptive cadence. Then the proper bass tone, F, appears, and the second voice sounds A and F consecutively while the upper voice has D, which now outlines the second chord in C major. This is followed by a formal cadence in the upper voice, for which the bass is given G, as the second inversion o f the ruling chord. The second voice goes to E, and the first to C. This bass G is repeated once again with its own harmony o f the third chord. The root C with its octaves closes this example without other accompaniment.

The three preceding examples, together with the explanations o f them, w ill suffice to give the amateurs an idea o f composition in three parts. They serve for practice in major keys and, although this exercise can also be done in minor keys in exactly the same manner, we do believe that the repetition o f a good thing, or an abundance o f examples, does not impair the clarity. We would like to give another example in the key o f A minor [Example 62].

46 “ D-sharp” in the original. Subsequent usages o f D-sharp also have been rendered as E-flat where appropriate, in ac*

cordance w ith modern usage. Daube’s use o f “ D-sharp” (Dis) to indicate both D*sharp and E-flat is a vestige o f

fifteenth-century Germ an organ tablature notation, in which all chromatic pitches, except B-flat (b) and B*natural (h),

were indicated as raised rather than lowered notes, regardless o f the key. In his GenerabBaji o f 1756 , Daube uses this

old nomenclature consistently, in his Dilettant o f 17 7 0 / 7 1 he applies it inconsistently (partially adopting the newer

designation for lowered pitches, i.e., C-sharp is Cis , D-flat is Des), in the present Dilettante o f 1773 he applies the old

system only to D-sharp/E-flat, and in his Erjindung der Melodie o f 1797/9 8 he consistently uses the newer terminology

(Wallace, “ Daube’s GenerabBaji, ” pp. 20-23). See Daube’s GenerabBaji, Chapters 1 and 9. In 1755 R iepel treats the

nomenclature for E-flat as a matter o f controversy. “ Is it possible that we should say Dis [when E-flat is notated],

for the designation Dis takes its name not from E but from D. . . . This clearly introduces a profitless confusion.

Accordingly, a few clever German composers have (just recently) devised an adroit nomenclature: works, and all

notes prefixed by a sharp end in *is; . . . all notes prefixed by a flat end in -es” (Anfangsgriinde, vol. II (1755), p. 2).

8o The Musical Dilettante

Ex. 62

This example begins with the complete harmony o f the ruling chord in A minor. However, since E appears two more times in the upper voice, one can, for variety, follow this harmony immediately with the third chord, o f which this E is actually the root. For this reason, the bass is given G-sharp, and the second voice has B, the third above, and then D, the fifth above, which completes the harmony o f this chord. Now, according to the order o f succession, the harmony o f the ruling chord must follow, which likewise happens here. The tone F in the upper voice can be included either in the harmony of the second chord, or in the diminished seventh chord which occurs in minor keys, as we have done here. The bass has G-sharp, and the second voice again the third and fifth above it, B and D, whereupon it resolves into the ruling chord [m. 3]. With regard to the harmony, the B which comes next is divided into two parts, the first o f which is harmonized by the second chord, and the other by the third chord. N ow since A is also in the second chord, the preceding [bass] A remains stationary, the second voice takes D, and then [56] E which belongs in the next chord, while the bass sounds G-sharp. Then


the ruling chord is heard twice, after which [m. 5] the second and third chords appear in order. N ow the bass ascends a tone, causing a deceptive cadence. Instead o f the harmony o f the first chord, a partially similar harmony follows, namely the inversion o f the third chord in D minor. The bass descends a tone to E, in contrary motion to the upper voice. The second voice has G, its third, and A , thereby completing the chord. The natural resolution into the ruling chord o f D minor follows [m. 7]. N ow even D-sharp appears in the upper voice. W hich harmony should one furnish here? This foreign D-sharp indicates the third chord in E minor, which requires either B, A , or F-sharp in the bass. But since this tone ascends a half step to E, and the preceding bass F likewise is situated a half step above the lower octave E, contrary motion permits the harmony o f the chromatic chord in E minor here, all the more because F can then remain stationary in the bass with only its third, A , in the second voice. The resolution takes place as with the third chord in this key, namely into the ruling chord [m. 8] in E minor. The upper voice and the bass go to E, and the second voice to G, the third. Because o f the similarity o f this chord to the third chord in A minor, the second voice may also go to G-sharp here. The E remains stationary in the upper voice, but its harmony is partially changed. The bass descends a whole tone to D, indicating that the key o f E minor has now been left behind. The second voice goes to G-sharp, thereby indicating A minor, and this accordingly is followed by its ruling chord. However, since the upper E lasts even longer, one again has the opportunity to sound another harmony which bears some resemblance to the preceding one. This is the inversion o f the third chord in D minor. The bass goes to C-sharp, which indicates the key o f D minor, while the second voice sounds G. This is followed by the first chord [m. 10], which is designated for resolution in this key. N ow C appears in the upper voice, but its correct accompaniment cannot be discerned from this, since it cannot indicate the key. In such a case one must have recourse to the following tone, which here is B-flat, the harmony o f which can be either the ruling chord in G minor or B-flat major. But since, until now, all examples have shown that similar chords follow one another very well, [57] one must look for a harmony similar to that of the previous chord even if no indicative tone is found in the melody. Therefore, since this C was preceded by the ruling chord in D minor, it can be part o f the third chord in G minor. Moreover, it can be followed quite well by the first chord in G minor, o f which the [soprano] B-flat is the third. For this reason the bass goes to F-sharp, the second voice to the third, A , and this is followed by G in the bass, and in the second voice also, in order to move in contrary motion to the bass and still avoid leaping to the fifth, D. W ith the B-flat which remains stationary in the upper voice [m. 11], another new harmony can be employed. This may be drawn from either the third chord in F major, or from the diminished seventh chord in D minor. The following A [m. 12] indicates the resolution to its ruling chord. Either o f these would be correct. We have put C-sharp in the bass, and its third, E, in the second voice, whereby the diminished seventh chord is heard, and the indication o f the key o f D minor is given by the bass. The natural resolution occurs when D appears in the bass, and its third, F, in the second voice. The upper tone again remains stationary, and the second half o f it is given another foreign harmony. This tone, A , is found in the third chord in E minor, for which the bass may merely


rise a half step, and the second voice may be moved up to its third, F-sharp, whereupon most o f the intervals o f this third chord are present. It resolves as usual into the harmony o f its ruling chord, with the bass taking E, and the second voice the octave above it. N ow a tone indicative [of the original key] appears in the upper voice, namely G-sharp, while the second voice stays on E and the bass descends a tone to D in order to show that a new key may be at hand, particularly since this tone D is also found in the third chord in A minor. The inversion o f its ruling chord follows [m. 14], with the bass taking C , and the E in the second voice remaining stationary. The next two tones in the upper voice, B and D, can reasonably be accounted for in the harmony o f the third chord, for which the bass has G-sharp [recte E], and the second voice harmonizes in thirds with the upper voice. Contrary motion now produces a deceptive cadence. Then comes the inversion o f the ruling chord, which really should have come in place o f the chord which brought about the deceptive cadence. The tone A remains stationary in the second voice during both chords, while the bass states F and then C . Then F appears in the upper voice and is sustained. I f one wished, two different harmonies could be used with this tone - the second chord and, instead of the [58] following third chord, the diminished seventh chord, just as happened here. The progression (Folge) o f chords from here to the end is arranged according to the order o f succession (Rangordnung). Since A and G-sharp, which occur one after the other, are from the first and third chords [respectively], the E which is common to both chords is set in the bass twice, in order to form the proper cadence.

A F E W R E M A R K S P E R T A I N I N G T O T H R E E - P A R T C O M P O S I T I O N

W hen a beginner has constructed a melody, he should examine it to determine to which chord each tone o f the melody belongs, and mark them underneath by the numbers, 1, 2, 3, to signify the first, second, and third chords. He should remember what was said in our thorough-bass method about passing tones, namely that in composing with equal eighth notes in an Allegro movement, usually only the first and third notes are heeded, but that if there are sixteenth notes, only the first note is considered as a tone to be harmonized while the others pass through. If the melody is also intermingled with so-called appoggiaturas, they likewise are handled as passing tones.

Next, in writing the bass, the three motions must be observed. If the upper voice has many running passages, short rests can also occur in the bass. It is well, especially for a beginner, to make certain to give the bass more roots and their thirds than other intervals. However, i f a few other bass tones should appear now and then, they must either repeat the directly preceding bass note, or move in sixths or thirds with the upper voice for a change. It is also especially important to remember that the bass line should consist more o f stepwise notes than o f leaps, since by that means it is made melodic. Wherever the upper voice has long tones, the bass can be assigned rapid notes mixed with passing tones in such a way as to always promote the singing style. After this, if one wanted to, it would be a profitable occupation to figure the bass o f one’s exercise. In that


way all the intervals o f the three chords and their inversions are set forth explicitly so that subsequently one does not need to ponder a long time before writing down a harmony to go with the upper voice. After this is done, one writes the second voice. We have said above that two equal voices go well together in thirds or sixths. W hen the melody o f the upper voice has even stepwise [59] tones, the second voice may be set in thirds or sixths with it. W hich o f the two intervals it should be is shown by the harmony o f the bass with the upper voice. On the other hand, if there is no place for these successions o f thirds and sixths between the first and second voices, the third o f the bass is usually set in the second voice. It quite often happens that this voice proceeds in thirds with the bass, especially when the upper voice sustains a tone. If a succession o f thirds or sixths is impeded by the previously composed bass, even the bass may be altered in that place. Diversity o f movement can be arranged by giving one voice rapid notes while the other two voices sound long tones, perhaps also mixed with short rests. Two voices may proceed quickly at the same pace while the third has slowly moving, or even sustained tones. Also, two voices may have slow or rapid tones while the bass rests. Each voice may also move at its own separate rate o f motion. For example, one may have nothing but sixteenths, and another eighth notes, while the third can sustain a tone. A ll three voices can proceed at an equally slow rate o f motion, but this never should happen, or at least certainly very seldom, at a faster speed. W hy? Because the main melody, which indeed always must remain the center o f attention, would be hindered or entirely obscured. The melody should rule and the harmony should serve.47 In places where the melody has modulated into another key, the harmony immediately must be reoriented according to the three chords proper to this new key, as is demonstrated sufficiently in the foregoing examples.

Ex. 63 Main Example of Everything Discussed So Far

47 This analogy was used by Mattheson in the statement that “ the lower voice has to be governed by the higher melody, as the servant by the master . . (“die Grund = Stimme nach der Ober = Melodie, der Knecht nach dem Herrn . . . zu richten habe.” ) (Capellmeister (1739), vol. II, p. 186, Eng. trans., p. 388). Daube observed earlier that the harmony is expected to reinforce the affect of the melody (p. 41), and to “ forfeit an interval” in deference to good, melodic, voice-leading (p. 73). Incomplete harmonies often occurred in the popular progressions of parallel thirds or sixths with bass (described above), which often were identified with rustic or pastoral topics, as in the “ Pastoral Symphony” of Handel’s Messiah (1742). Later it will be seen that melodic layout also governs compositional structure. See n. 51. Ex. 63: m. 12, middle voice, appoggiatura was/# " in original.


Ex. 63 (cone.)

15

Ex. 63 (c o n t.)


This example [Example 63] in the natural unbound style o f three-part composition is written in such a way that a beginning composer [63] could easily imitate it. In this piece we paid little attention to constructing a beautiful melody or an artificial harmony. Our aim was a natural, light, and flowing manner. The purpose o f the piece was to combine these qualities with the preceding short examples, observations, and explanations o f the separate elements, and to present all o f this for review.

We still want to make a few comments about this example. The four sixteenth notes in the first measure should, for melodic reasons, be written this way [Example 64]:

Ex. 64

It would be clear to set a bass to this, since both [large] notes are from the third chord and may very well be harmonized by a bass F-sharp and D. Therefore, since appoggiaturas are never represented by a three-part harmony, but can well occur in two voices at once, as here, their status remains unchanged even when they are written as large notes and incorporated into the rhythm along with the other tones, as one sees here. We have already mentioned how appoggiaturas are to be recognized, but let us state it once more. An appoggiatura usually repeats the tone which preceded it in the same voice, or at least repeats a tone which is found in the preceding chord. Sometimes they even take the place o f passing tones. In both voices the first o f these four sixteenth notes is found in the previous chord and consequently can be regarded here as an appoggiatura. The second note o f both voices belongs in the third chord, from which the bass is taken. The third note is inserted here for the formation o f the melody and again occurs in the position o f an appoggiatura or a passing tone. The fourth note in the first and second voices again belongs in the third chord. It would be written like the first half o f the second beat if the small appoggiaturas were represented by ordinary notes. In the fourth measure, where a rest occurs in both [upper] voices, the bass moves rapidly, so that there might never be a lack o f motion. This also occurs in the seventh and


thirteenth measures. On the other hand, when the upper voice has rapid passages, the bass has long tones interspersed with rests. The second voice likewise sustains tones wherever [64] it either is preferable to have the upper voice proceed alone, or where the second voice cannot accompany it in thirds or sixths. Sometimes this voice also goes in thirds with the bass. Modulations always occur by means o f the similarity of two chords, after which the natural progression (Fortschreitung) o f the three chords in order is observed throughout. Seeing that we have treated the natural and unartificial style o f three-part composition sufficiently, we now want to describe the other style also.

At the very beginning o f this discussion we said that the artificial style o f composing three parts is that in which art and nature are combined. This means that outside o f the already discussed first style, all kinds o f artificial ties, unusual resolutions, imitations, etc., etc. should also be included in it. We want to explain each piece separately, so that the ambitious amateur might be able to understand it more easily.

Ex. 65


This example [Example 65] seems to be comprised o f more art than nature, although it does show the natural succession o f the three chords, especially in the first four measures. In the first measure the melody o f the upper voice clearly indicates the second and third chords, and the bass is arranged accordingly. In places such as this, where a long note in the melody is preceded by fast tones, one investigates to see whether the second voice or the bass might not also be able to sound fast tones against the sustained tone. In doing this it is not necessary to contrive an imitation o f the fast passage introduced in the upper voice. It is enough for the rapid motion to be alternated between the two voices. To increase the clarity o f the upper voice, we have begun the second voice with a rest and later supplied the necessary third above the bass. Since this third is still sounding at the beginning o f the slow tone in the upper voice, it forms a retardation that is disregarded by the bass, because a bound tone is usually treated like an appoggiatura. W ith the indicative tone, F-sharp [m. 1, beat 3], the bass takes D, the corresponding root, and since the second voice makes a passage in the third chord, the bass moves very slowly so as to increase the clarity o f the melody in the two [upper] voices. The running passage o f the second voice belongs in the third chord, as is certainly implied by the tones which appear therein. There are four tones, namely D, A , and twice C , which belong in the third chord, whereas only three passing tones are among them, namely E, and twice B. The larger number prevails here. In this measure [m. 1] we also find the true source o f the ninth, which is represented by a figure in the bass. It is this same upper third, E, from the preceding second chord which, as mentioned before, remains stationary until the entrance o f the third chord, [66] and by means o f its retention a ninth is formed [with the bass]. Then, so that the ruling chord w ill not be heard at once, despite the fact that it is designated by the melody o f the upper voice, the bass ascends a tone, thereby producing a deceptive cadence. The second and third measures contain nothing new, in that the melody o f the first measure is repeated twice more, each time a tone lower. The second voice does likewise. The bass makes a slight variation. The tone E, which presented the deceptive cadence, is moved down to D in the following measure [m. 3]. Instead o f the half notes o f the first measure, quarter notes are introduced because o f the necessary descent from E to B in the bass. From the [fifth and] sixth measure[s] on, various artificial resolutions occur. The tone G-sharp [m. 5] gives an indication o f A minor. Since the bass for the sustained G in the upper voice is B, its third, and since the second voice also has G for the sake o f the melody, we have, for variety, let the second voice then go to F, thereby forming an inversion o f the third chord in C major. Its ruling chord would naturally have to follow, but this does not happen, since the bass remains on B, and the F is taken a half tone lower to E. These two voices, together with the upper G-sharp, make up the harmony o f the third chord in A minor, the ruling chord o f which also follows. During the soprano F-sharp [m. 6] the bass remains on C , and the second voice likewise on E, which gives rise to an inversion o f the second chord in E minor. W ith this same bass and upper voice, the second voice then goes to D-sharp, which produces the third inversion o f the diminished seventh chord in E minor. The soprano G indicates the third o f its ruling chord. The bass, by reason o f contrary motion, goes to B, and the second voice goes to E, but exchanges this


tone immediately for D, the third above the bass. This entire measure also could have been arranged in the key o f G major, simply by giving the second voice D-natural (simple) instead o f D-sharp, and then D instead o f E. In this case it would have come out as a transposition o f the previous measure and therefore would have been more natural. But since we wanted to demonstrate other modulations etc. in this example also, we have chosen the other alternative. The seventh measure has been made to conform to the one before it, because it simply recurs a tone lower. The harmony o f the eighth measure, except for the fourth quarter, has likewise been transposed down another step. In this measure the harmony o f the second chord in G major appears, whereupon the two upper voices move to A and F-sharp from the third chord in this key. N ow the bass remains stationary on G until the end, confirming the rule that with oblique motion it is permissible [67] to use different harmonies with a sustained tone, provided only that the first and last o f them are five-three chords. This rule has already been cited before, but since a repetition is not superfluous at an opportune time, especially when examples are present, we have demonstrated it in this way. After the ruling harmony, the second and third chords occur,48 and then the ruling chord reappears and one similar to it. Then the harmony proceeds again in the order o f succession until it ends with the alternation o f the second and first chords. This example shows us a possible application o f artificial techniques. It still contains no imitations etc., but is produced by the natural progression o f the three chords in conjunction with oblique motion. Only from the fifth measure on does anything out o f the ordinary take place, namely a few unexpected keys appear which, in any case, do have their natural resolution. This class o f three-part composition always requires a fine judgement, which certainly cannot be acquired without an understanding o f most chords and their resolution, generally not before one has perused and comprehended the thorough-bass method. W hen this has been accomplished, and a mastery o f harmony acquired, one w ill be able to combine nature and art well in this style. The latter then must be applied so that it seems to be the more prominent in a certain piece, although, after all, it is merely subservient to nature. To the listener the melody appears in its utmost simplicity and sounds entirely spontaneous, but it nevertheless has been made to comply here and there with the design o f the harmony, so as to also benefit its members, that is, its voices. And these voices themselves have a melody which, in places where the upper voice is in the brilliant style, still has a naturally flowing line. In arranging this, the instruments themselves are to be taken into consideration. The melody for a harpsichord etc. can be intermingled with more half-step appoggiaturas and contain fewer ties, than one which is to be performed by violins, wind instruments, etc. The reason is that the former instrument does not sustain, whereas the latter instruments can prolong their tone at length, and so the half steps produce a different effect, depending on whether they are heard on one or the other instrument. Therefore, the nature o f every instrument must be thoroughly explored, provided that one wants to write some pleasing music for them in which art and nature are combined.

48 E x. 65: apparently a measure containing these three chords was omitted after m. 8. “ The ruling chord reappears and

one similar to it” (w ith /-n a tu ra l) describes m. 9.


The imitation o f a melodic m otif in all three voices might be contrived in the following manner [Example 66],

Ex. 66


This example already combines more art with nature than did the previous one. Yet the melody o f the first voice always does remain in its range, without the second voice disturbing it or endeavoring to take its place. The harmony for the most part is arranged according to the order o f the three main chords. No irregular resolutions are used here either. A few retardations have been introduced in the proper place. In the very first measure D and B from the third chord are retarded, since they are retained during the root o f the ruling chord, which then gives rise to a four-nine chord. But since the bass goes to its third, C , instead o f waiting for the resolution o f the ninth as it should have, the resolution then occurs to a sixth, namely C in the bass and A in the middle voice. A t the beginning o f the second measure the bass ascends a half step, which produces the harmony o f the deceptive [70] cadence. This is followed by the second chord, and so on according to the order. An eighth rest occurs in the bass, and then the previous bass E recurs and is even retarded at the beginning o f the third measure, as is the C in the second voice, despite the fact that the second chord is indicated by the upper voice. The tone D follows and once again remains stationary with the harmony of the third chord, which likewise happens just at the entrance o f the harmony o f the first chord. Here it is dislodged by the proper bass, C . The retardation now occurs in the upper voice. The proper tone at the commencement o f the fourth measure would be B, the sixth o f the second chord, but the preceding C remains stationary and becomes an appoggiatura. The bass, however, takes no part in this, but rather accommodates the previously mentioned B and its order o f succession. The second voice does likewise in stating A , the fifth o f the second chord. N ow the bass should remain stationary, since the harmony o f the third chord follows, but because there is another half step between D and E the bass also passes through this tone, D-sharp, in order to include somewhat extraneous elements in the harmony; besides, two closes, namely A to G-sharp in the upper voice and D-sharp to E in the bass, produce a good effect. The rest in both upper voices provides an opportunity for the bass to move through the intervals o f the third chord in a short melodic m otif which subsequently is imitated by the upper voice in the intervals o f the first chord [m. 5]. Because o f the similarity o f this chord to the third chord in D minor, the second voice imitates this m otif in the first chord in D minor. And because o f this same resemblance to the third chord in G major, the melodic motif can be carried out in both voices until after the first chord in F major [m. 7] where, by merely transposing it down a third, the first voice leads it into the third chord in A minor. Here [m. 8] the bass again takes it over and the second voice repeats it in the first chord. The bass imitates it once again, namely in the first chord in D minor. After this [m. 10], the upper voice sounds it in the first chord in G major. Because of the similarity o f this chord to the third chord in C major, the C-major harmony can follow. And by means o f the similarity o f this setting to the third chord in D minor, it happens that this chord comes next. After this, its ruling chord appears [m. 11], and then the third chord in E minor, which may be used here because the third chord in A minor which follows bears some resemblance to the ruling chord in E minor. Then, in accordance with the order, the first chord appears. The A and C o f this chord are heard once more, but the bass is given F [m. 12]. [71] One takes this freedom in making a

deceptive cadence. Here, however, it is done because both upper voices remain stationary and the intermediate rest does not interfere. Thus, this bass F can be introduced by means o f oblique motion. Yet, at the option o f the composer, the bass could also have been taken to C instead o f F. The progression from here to the end takes place in accordance with the course o f the three chords.

This type o f imitation can be used in all musical pieces. It is even allowed in the menuet. But, as we already mentioned above, it must be used carefully, so that the main melody is not obscured or made indistinct, as would happen especially if the second voice were taken a little higher than the first voice, as is certainly done very often by inexperienced composers. Later we w ill also show how to write this type o f alternation for two voices.


Ex. 67 Example of Imitation in Triple Meter


Throughout this example [Example 67] there is the most precise succession o f the three chords and their assigned harmonies. The essential content o f this piece is the aboveconsidered retention o f a tone in the second voice and the bass, the three different motions, and the fact that the second voice never ascends above the first voice. In the ninth measure the second voice begins to present the melodic m otif taken from the first measure, and this occurs in the third chord in A major. The first voice imitates in the first chord. But since this m otif is comprised o f an ascending octave leap and then a descending step, the first voice must imitate it in like manner, which, instead o f G-sharp, gives rise to the tone G, which actually belongs to the third chord in D major and can very well be used here because the other intervals all appear in the ruling chord in A major. In this way, the melody is now situated in the first chord o f D major, which [73] gives the bass an opportunity to imitate the melodic m otif in this key [m. 11]. This chord, as the one which preceded it, has two aspects, in that it presents here the ruling chord in D major, but at the same time, due to the inclusion o f C , also displays the intervals of the third chord in G major. Actually the first chord in G major, or rather its first inversion does follow [m. 12]. Once again, the similarity o f this chord to the harmony o f the second chord in D major facilitates the subsequent use o f the third chord in this key as well. And since, in the natural course o f events, the first chord must follow, the bass then can remain on the root, D, while the harmony o f the third chord in A major is heard above it, as has been done here [m. 13]. N ow the harmony proceeds in order to the cadence. The rest which follows provides an opportunity for the bass to have a running passage [m. 16], which then is imitated by the other voices and is carried out until the end. No further cadence occurs, because the bass passages were derived from the intervals o f the first chord, and therefore the other two voices could not include any other tones either, provided that the aim is to bring the entire piece to a conclusion.

This is one o f the easiest pieces which could be imitated. The melody is completely natural and flowing, and the artificial style has been incorporated in such a way that one hardly notices it. W hen using such pieces as models, an amateur will do well to depend on his imagination and judgement more than on the keyboard. I f it is necessary, the first two or four measures may be searched out at the harpsichord, but the rest should be decided upon by reflection and the writing o f trial versions. In the course o f this work, we also intend to be mindful o f facilitating this process.


Furthermore, concerting passages are also introduced in three-part composition. These consist o f an alternation [of motives] between the two voices, so that sometimes this one and sometimes that one occupies the first place. It is also necessary to handle this style carefully. The entire melody must be arranged so that it is never interrupted by the other voice. It must be divided between the two voices, so that in listening to such a piece, one would believe that a single voice were carrying out the main melody. It is known that a passage is often heard twice during one piece, which commonly happens when the passage contains something distinctive, pleasant, [74] and singable, or else presents the brilliant style. In this case one gladly hears it twice. Therefore, this style originates in [the principle o f] repetition.

Ex. 68 Example with Concerting PassageAllegro


Ex. 68 {cont.)

We purposely have chosen a melody [in Example 68] which w ill strike the amateurs as very easy, and one which is simply flowing and contains no intervals other than those inherent in the key. Anyone who has a good grasp o f something easy, can quite soon proceed to something difficult. Our aim is to demonstrate how to construct a harmony pleasing to the ear, which gives approval whenever nature has a greater share in the harmony than does art. A t the beginning o f the melody a few bound tones are introduced, which can be divided into two parts, so that the first half is properly harmonized, whereas the other half is, in effect, not present. The first half o f the G in the first measure belongs in the preceding ruling chord. The second half is not realized, but rather the bass harmonizes with [the soprano] F, which in this case has been taken from the third chord, [77] because it is followed directly by the first chord again. The second voice begins with the third, E, and is retarded along with the upper voice. The tone F likewise remains stationary into the beginning o f the second measure, where it, too, is disregarded, since the bass is directed toward the following tone, which is from the first chord and requires the root C in the bass. This E is also bound, and the second half o f it is abandoned, because the bass, conforming to the following D, goes to G, the root o f the third chord. N ow since, at the very beginning, the second voice commenced in thirds with the upper voice, it can also continue this progression without the bass paying attention to it. The rest o f the harmony proceeds in order. The initial four-measure melody is now repeated in the second voice, while the first voice appears in its place. The ninth measure begins with brilliant passages, which likewise are four measures long and are repeated in the second voice. Therefore, in order to make this very clear, the second voice has


been given only simple struck tones interspersed with rests49 while the bass has a steady, supporting motion. At the end o f this passage the first voice again takes up the melodic line and carries it to the cadence in G major [m. 20]. Then a measure-long figure appears and is repeated three times. The upper voice and the second voice each sound it twice. This figure, in somewhat varied form, is then continued [m. 25], while the bass has a few slow tones mixed with rests. At the end, the previous close is repeated. Further explanation w ill not be necessary, since this style (Manier) is quite easy to imitate. But still, it should be said that not all passages are suitable for repetition. A melodic motif designed for this purpose must deserve to be heard twice in succession. It must be carefully chosen, appealing to the ear, and include nothing dull or tedious. Any bright, lively passages, any singing, playful, and skipping figures can be repeated. Good judgement is best in determining these matters also.

The alternation o f the brilliant and the singing styles should also appear in this type o f three-part composition. The alternation o f these two styles, together with a good execution o f forte and piano, contributes much to the enhancement o f a piece. The effect is remarkably distinctive.

Ex. 69 Example Alternating the Brilliant and the Singing Styles

49 Daube’s repeated recommendation of rests is reflective of the varied, transparent textures of galant music. He uses rests to clarify phrasing, create characteristic rhythms for each voice, ensure that moving parts will be heard clearly, allow wind players to breathe, and create textural diversity by temporarily reducing the size of the ensemble, often in

correlation with stylistic contrasts. See, for instance, pp. 108-9, 123, and 126-7. Also see the comments on general rests, p. 104 Ex. 69: mm. 5 and 7, second voice had eighth notes in original.

Ex. 69 (cont.)



The alternation o f the singing and the brilliant styles has been brought about very naturally [in Example 69], and one sees that the harmony has been gauged accordingly. The former has a thin accompaniment. It begins without any harmony. The second measure contains three tones o f equal duration and the following three-part texture likewise exhibits no particular change o f movement or harmony. N ow if this piece is begun with a very delicate piano which continues until the unexpected intense forte, what change does such a sudden forte make on the ears o f the listeners? The harmonization o f this forte [m. 5] is carried on with vigorous movement in the accompanying voices,50 and when the upper voices subsequently rest [m. 8], the bass repeats the passagework once again while the upper voice prepares for another expression o f the singing style. The second voice must rest two measures while the bass progresses slowly with the upper voice. This slow bass movement continues, even though the second voice joins in again with the very same movement. Here [m. 13] the brilliant style reappears, in the second measure o f which all three voices reach a unison and go in parallel motion for a single measure. W hen this procedure occurs unexpectedly in a brilliant Allegro, and does not last long, it sometimes wins approval. After the cadence [m. 16], the two lower voices proceed in sixths, while immediately after that the upper voice again sounds two short piano phrases with intermittent forte exchanges. The subsequent very intense forte [passage] then hastens to the cadence, where it is heard once more with the full harmony o f the first chord.

[81] In large scores such as symphonies, concertos, etc., this alternation o f the singing and the brilliant styles can be introduced very beneficially. In opera arias also it is quite often heard and wins much approval. Moreover, the ear likes something new and unexpected. Therefore the melody must necessarily possess a beautiful continuity, but it certainly also ought to be constructed so that the listener could not tell what to expect from one passage to the next. And thus it is with the harmony also, in which multifarious changes and surprises must be introduced. Another characteristic o f the second type o f three-part composition is beautiful symmetry, or good division of the main melody, and similarly a harmony which fluctuates between full and thin. The former has to do with the rules for the invention o f melody,51 as we will try to demonstrate in the proper place. The principles o f beauty in nature which are sought for everywhere - in all the arts and sciences, in languages and styles o f writing - have been found to a great extent in music also. One branch o f knowledge supports the other. It is certain that these principles, which have been taken from the correspondences found in beautiful, charming

50 For use o f texture and dynamics to emphasize stylistic contrast and create surprise, see pp. 108-9 a^d pp. 115—17,

where Daube recommends proportions o f styles for a complete movement. See also pp. 129-30 . Q uantz advocated

a similar alternation o f styles in the concerto grosso ( Versuch (1752), pp. 12 , 228, Eng. trans., pp. 23, 311). Riepel

distinguishes between four contrasting styles - the Singer, Laufer, Rauscher, and Springer - and likewise observes the

heightened effect o f juxtaposin g them (Anfangsgrunde, vol. I (1752), p. 39).

51 Here Daube probably refers to the planned fourth volume o f the Dilettant series, Anleitung zur Erjindung der Melodie.

A treatise on m elody w ould be “ the proper place” to treat “ good division o f the main m elody” (i.e., musical form)

since, during the later eighteenth century, large-scale melodic design was becom ing associated w ith developing

concepts o f form , as in Daube’s next paragraph. T his relationship can be seen in R iepel’s Anfangsgrunde, vol. II (1755),

in w hich the study o f symphonic structure is undertaken w ith a single melodic line.


nature, and brought to application, are so universal that one even can borrow them from the other sciences and use them in music.52 O f what does symmetry in architecture consist? O f the beautiful proportions o f the various dimensions o f the component parts from which the building is constructed. This proportional division is pleasing. Even the uninformed peasant w ill praise it, although he does not know by what means this beauty is produced. On the other hand, i f there is a visible error, it w ill be criticized repeatedly by everyone. Beautiful symmetry is found today in painting, sculpture, dancing, poetry, literature, etc., in which it always brings forth beauty and edification. It is this which we recognize in music, too, and o f which very little was known by our forefathers, many of whom believed that one must give his thoughts free rein and let the idea itself conclude the piece.

Thus, [there are two requirements] for the [proper] division o f the main melody. First, it should be constructed so that the caesuras, resting places, and cadences are separated by an equal number o f measures. For example, a segment can contain two or four measures, a figure preceding the resting place may be comprised o f two, four, six, even eight measures, and a passage lasting until the cadence or the conclusion also may be given an arbitrary but equal number o f measures. Secondly, wherever a brilliant passage has been written in the first part, it should reappear in the second part, and likewise with the singing style. N o passage may appear in the first part which [82] is not reintroduced in the second, although transposed into another key. However, in case an idea is not to be heard in both parts, it is always better for it to make its first appearance in the second part, although the idea itself still must be repeated. It is very seldom good for a passage to appear only a single time. The repetition also confirms it in its position. However, i f one prefers not to have it heard twice, it may be varied the second time, which the ear w ill certainly retain as something pleasant. In general, the entire musical piece must be divisible into certain main sections, and these again into smaller secondary parts or motives, providing it is to produce a good effect. Also pertinent here is the decreasing and increasing o f the harmony, in which variety must be frequently perceived. Continuously full harmony is not pleasing to the ear. Even three-part composition must show an alternation in which one sometimes hears two voices, or indeed, even the unison, and then the three-part settings again. But is it worthwhile to consider which tones should be omitted? We deem it superfluous to give examples here also, since most of the preceding ones contain this changing o f the harmony, as well as the division of the melody.

In artificial three-part composition it also quite often happens that the bass part must be altered so that more beautiful ties, imitations, or countermelodies might be arranged in the second voice. Sometimes a rest is set in the bass in order to accomplish this. The same thing is done with the second voice also, indeed, even with the first voice, when they are concerting together and the first voice assumes the secondary position. Both must likewise be altered for the sake o f the bass, especially if this can improve

52 In his Erjindung der Melodie (1797/98), p. 5, Daube alludes to the idea o f the relationship o f the arts through

principles o f nature as demonstrated by “ the famed Abbe B atteux.” Compare Batteux, Les beaux arts (1746).


the melodic quality o f the bass line. A ll o f this occurs particularly in the so-called sonatas a tre,53 in which all three voices should be very melodic, and also where the bass often plays a melodic m otif from the upper voice so that it might not constantly remain in its steady, supportive role and move along slowly, all o f which has been pointed out already. Nature and art must be united if the work is to please the greatest number of listeners. This discussion is to be concluded by another elaborate example in which we want to review everything which has thus far been illustrated by separate examples [Example 70].54

Ex. 70

53 The sonata a tre or trio sonata, a standard genre o f early to mid-eighteenth-century chamber music, featured a con

certing texture o f tw o trebles and bass plus continuo. J . A . P. Schulz considered the chamber-style trio sonata one

o f the most difficult genres o f composition and one o f the most pleasant types o f chamber music (Sulzer, “ Trio.

(M usik.),” Allgemeine Theorie, vol. II (1774), pp. 1180-81). See also T u rk , Klavierschule (1789), p. 398, Eng. trans.,

P- 387-54 W hile many o f Daube’s melodies are in the expansive Italian cantabile style or exhibit the rapid passagework

o f the concerto tradition, E x . 70 seems to draw on his N orth German heritage o f small, rhythmically diversified

melodic figures.


Ex. 70 (cont.'

f 31 [J]

Combining three voices

Ex. 70 (c o n t .)

IOI

25


Ex. 70 (cont.)

[89] Because all of the foregoing examples were Allegro movements, we have chosen a slow tempo for this one. This piece w ill not be displeasing in performance, although the only consideration in writing it has been practical instruction. In performing it, however, remember that the bass line is to be played by a violoncello, so that, in view of the short melodic motives, the three voices acquire an equality which cannot be obtained on the harpsichord. Bowings, slurs, and the so-called forzando, etc. are best expressed by a violoncello. The second voice begins the melody and continues it, accompanied by the steadily moving bass, until the sixth measure. The main content of the entire piece is proposed by this initial melody. In it we find a mixture o f accidentals which, especially the sharps, are used as appoggiaturas. However, they constitute something extraneous and unexpected, since this short statement modulates into three different keys which, however, on account o f their brevity, are not at all detrimental to the main key. In the second measure the melody modulates into the key of B-flat major, but since the third chord in this key bears a great resemblance to the first chord in F major, and since the following B-flat-major chord itself likewise resembles the second chord in F major and immediately returns to this key, the melody is enhanced by this very short excursion and the ear hears something unusual which, however, disappears again the next moment. The same short encroachments [of the tonal boundary] are found in the fourth measure. In the [fifth]55 measure the return route is indicated already. In the [sixth] measure the E-flat is presented again, which gives rise to the aforementioned

55 “ sixth measure” in the original, “ seventh measure” in the follow ing sentence and paragraph. E x . 70; m. 28, “ J ” over

second B\> in original.


resemblance of two chords. Then a formal cadence is made in F major. The melody, however, immediately modulates again, since at the entrance of the first voice it prepares for the first modulation from F major, which is likewise accomplished by the bass. The three-part harmony now makes its appearance. The melodic m otif taken from the first half o f the following measure [m. 7] is played beforehand [m. 6] by the second voice almost as if it appeared unintentionally. Then it is repeated an octave higher by the first voice, in fact, it appears here in the same [rhythmic] position in which it was originally played by the second voice. The bass repeats it, which is quite unexpected, since the initial bass line was not imitative. The second voice also participates in the imitation.

The third melodic m otif is now imitated by the second voice while the bass continues its steady gait as before [m. 10]. At the beginning of the eleventh measure, the two voices jo in and proceed together until the cadence. N ow [m. 12, beat 3] the upper voice introduces a [90] very short melodic motif, consisting of only five rapid tones, which then is imitated at once by the second voice so that the two voices repeat it in thirds and lead to a short caesura where the second voice takes it up anew, now in the third chord in B-flat major. The first and second voices change places and arrange the same repetition in thirds [m. 13, beat 4]. This melodic motif, with a slight change, is played once again by both voices in succession, whereupon it is continued, mixed [with other figures], until the entrance of the second melodic motif [m. 17]. This m otif now appears in the key o f D minor and is repeated three times by the two voices alternating in thirds, while the bass causes oblique motion and does not proceed as it did above in the seventh [recte eighth] measure where it, too, imitated this melodic motif. The upper voice sounds a few slow tones, which again provide opportunity for imitation, at the same time giving rise to two chromatic chords. The first of these is the augmented sixth chord in A minor, which here goes to the third chord in D minor [m. 19] on account of a certain resemblance, and the second chromatic chord is the augmented sixth chord in E minor, which here, however, moves back into the harmony o f the third chord in A minor [m. 19, beat 3]. It is not followed by the ruling chord, but rather by the third chord in D minor, whereupon a formal cadence is made in this key [m. 20]. N ow the first theme reappears. The second m otif is repeated by the bass, taken over by the second voice, and introduced once more by the upper voice. The first voice now [m. 23] presents the third melodic m otif anew, specifically with the same tones which the second voice had in the tenth measure, while the second voice now plays this melodic m otif a fifth lower and then repeats it. In the next measure [m. 25] the bass takes up the imitation of part of this motif which, however, must appear somewhat altered, since at the same time the upper voices are also sounding rapid tones. The second melodic motif comes forth once more, that is, as it was ornamented in D minor. This m otif is repeated several times in alternation between the two upper voices, whereupon the very short m otif which occurred in the twelfth measure appears [m. 28, beat 3] for the formation of the close, this time with a repetition of the first tone which, however, the bass disregards, realizing the note in the first voice. And since this tone subsequently remains stationary also, the same fate befalls it, that is, the bass harmonizes with the tone in the second voice [m. 28, beat 4]. This alternation o f retained tones between the two voices is continued several more times,


while the bass proceeds in the said manner. If this is to be expressed in figures [91] the adjacent ninth, octave, and seventh must be divided into two bass notes, the first of which is given two figures together. Now, due to the presence of the third chord of this key, in which the seventh is heard, and to contrary or opposite motion, the deceptive cadence appears [m. 30]. Then all three voices have a rest in preparation for the formal cadence. Moreover, these general rests often improve the melody and harmony when they are introduced quite unexpectedly. The listener is taken aback, as it were, and is thereby once again made eager to hear the continuation [of the piece]. The formal cadence is heard, but the final very short melodic m otif is repeated several more times, while the simultaneous imitation in thirds and sixths by the second voice turns out quite well. Then all three voices hasten at an equally rapid pace to the final cadence.

We hope by now to have discussed three-part composition to the satisfaction of every amateur. To our knowledge, at least, it has never before been explained so clearly, though so extensively also. According to this description, an amateur can know to which class any three-part score belongs, and whether it possesses the features which have been pointed out here. Whoever has the patience, from the very beginning of each discussion, to work from the accompanying examples, and to construct their own test pieces and imitations according to the successive chords of each example, and to proceed in that way, step by step, to the end o f the discussion, has our promise of much progress in the knowledge of composition, in theory as well as practice. Everyone can come to know this truth. Even those with moderate talent w ill certainly learn so much that they can be satisfied with it.

5

COMBINING FOUR VOICES

This discussion is based on the preceding one. A ll that was explained there can be applied here. Indeed, one can almost say that four-part composition is the easiest o f all, in so far as the four voices do not concert among themselves, [92] but rather are to be regarded as four simple voices. W hat is essential here is the knowledge o f the three chords, of their order, of the three motions, of the retardation, and of the relationship o f the keys. A ll this and much more is to be observed in an artificial two- or three-part piece. But [in natural four-part writing] the main concern is simply to distribute the voices well, taking special care that the two outer voices, namely the upper voice and the bass, carry no irregular harmony (the inner voices can tolerate fifths and octaves more readily), and that the other two voices remain in their proper position. The viola in particular should be kept in its appointed place, where it sometimes appears as a

Combining four voices 105

middle voice and sometimes as a higher bass.56 Furthermore, care is to be taken that this voice may never ascend above the first voice and thereby alter the main melody. And since it is tuned in unison with the violins, it is quite easy, in view of the preceding, to understand why it should not rise above the first voice. We have found these mistakes even in the scores o f skilled people. But, with most music it is best for the viola part to have the least number o f players,57 in which case, o f course, such an error of voice-crossing will be less noticeable. However, the nature o f this instrument requires that it would always proceed [in a range] lower than the violins. Only there is it allowed to concert with the other voices. N ow which intervals should the viola properly have? Those which are still left after three voices have been composed. In the first chord it is usually the octave above the bass, but if the third chord has preceded, it also can be the fifth, G. The other two chords are naturally four-part and therefore only the previous directions need to be followed. First the three-part settings must be written out, namely two upper voices and the bass. Then whatever is still left is given to the viola. However, this is to be understood only of four-part composition without the alternation of full and thin harmonies, but not o f the artificial construction o f this number of voices. We w ill give a few examples o f both types. For the sake of beginners we again want to start with an explanation and analysis o f each chord [Example 71].

Ex. 71 Various Types of Four-Part Writing in the First Chord

The two upper voices move together here in a constant alternation of thirds and sixths. The bass proceeds with its principal tones (Grund). W hat still remains o f this harmony is given to the viola. In the first measure E and G are assigned to this instrument, since these two tones are missing in the other voices. This also happens in the next two measures where the viola has G. Toward the end it is given another tone which the other voices do not have, namely B.

56 “ The higher bass,” used fairly frequently in the transparent textures of this era, came to be called “das Bassetchen” (little bass). It was defined as “ that voice which provides the lowest voice as long as the real bass voice is silent. This usually happens in a higher octave; for example when the viola plays the bass part while the bass rests” (Koch, “ Basset,” Lexicon (1802), col. 222). See Ex. 74 and p. 109.

57 “ The least number of players” and similar phrases, indicate that Daube may have imagined his “ four-part scores” for either string quartet or four-part string orchestra. At this time there was little distinction between quartets and symphonies; either might be heard with one or more players per part, depending upon available performers.

io6 The Musical Dilettante

Ex. 72 The Second Chord

[94] [In Example 72] the two upper voices move in thirds and sixths until the fourth measure where they come together on a second which, however, is converted into a sixth again, since the [second voice] remains stationary. A third appears, changes to a sixth again, and then to the concluding octave. For the first two measures the bass has the root, which remains stationary when the third chord enters and then goes to the third above the ruling root. N ow comes the root and its third from the second chord, and then the root once again followed by the root of the third chord and the close. The viola has nothing but the missing tones, or else perhaps the octave o f another part.

Ex. 73 The Third Chord


[95] A greater variety is already to be found in this example [Example 73]. The second violin does not always proceed in thirds or sixths, but goes to the nearest adjacent tones in either similar motion or contrary motion with the upper voice. The bass does the same. W ith contrary motion it is allowed to go to the tones adjacent to the previous bass note, even though they are not roots or their thirds. A t the beginning of the sixth measure two tones from the preceding third chord are retained and become, in this case, the fourth and ninth [above the bass]. Strictly speaking, both are simply appoggiaturas, o f which we have spoken several times already concerning their definition, origin, and various designations. N ow if one were to inquire into the intervals which still remain, they would be exactly those that are in the viola part. However it certainly is not good, and seldom has a pleasing effect, for a piece to be set in four parts throughout. Remember that the fourth tone of the second and third chords is written only when it repeats the preceding tone. For example, with the second chord it is C which can be retained from the first chord if another voice already has D, and with the third chord it is F which is in the preceding second chord and thus may remain here if G is already situated in another voice. The fourth tone in the first chord is an octave which is never detrimental to the good effect. To encourage a good melodic line within every voice it is helpful for the voices to resolve properly among themselves as well, that is, according to the rules of harmony. The first voice should be set with the second in such a way that their intervals are resolved correctly. For example, the F in the second measure is subsequently resolved as i f it actually had been situated in the bass, that is to say, the voice descends a half step, instead o f ascending a tone to G and therefore possibly relinquishing this E to another voice. The relationship o f the second voice to the viola is the same. These two [voices] begin with a sixth changing to a seventh, whereupon the viola moves to another seventh, which likewise is resolved to a sixth by the downward [motion] o f the second voice, and so on. Even the bass must maintain a good relationship with the viola, although in the natural style o f four-part composition this is not always necessary. A good relationship between the parts themselves is favorable to the melody of each voice, and the harmony also benefits greatly from it, especially in artificial composition in which the retention of one or two voices produces unusual chords.

Ex. 74 Large Example in which the Three Chords Alternate

Ex. 74 (c o n t.)


[mm. 11- 12, 12- 13, the second voice has tie marks in the original]

After writing the first voice, a prospective composer might well consider carefully how he wants to arrange the other three voices, and at which point the composition could be four-, three-, or even two-part. These are things which should be looked into well beforehand. We have said something about this already in our thorough-bass method and also in this work, and now the opportunity arises to speak o f it yet once again. Everything in the brilliant style should be expressed through full-voicing. An exception is the serious style in rapid pieces, in which all the voices can be used in unison. Pieces of a delicate, singing, or playful nature may well be represented by three, two, and even by a single voice, when followed at once by something in the brilliant or rushing style.


The use o f piano and interspersed rests also has a good effect. The expression o f the affects w ill be explained more clearly later.58

The initial melody o f this present example [Example 74] is o f a serious nature, for which the full harmony is suitable. The following change to the playful or singing style already permits a modification. For that reason we have given the bass line to the viola, in order that this higher bass might increase the effect o f the change. In the ninth measure, the bass re-enters unexpectedly, whereupon the full harmony continues until the end. The E-flat in the twelfth and following [99] measures also has a good effect because the first voice meanwhile sustains F. In the fifteenth and following measures, the tones B-flat, C , and E-flat in the first voice are merely appoggiaturas which are written as regular notes. The intervals o f each voice are kept as close together as possible. And whenever a tone can remain stationary, it is also good that it be sustained longer, unless the melody o f this voice should call for the opposite. Even with an accompanying voice the melody remains the main object. For melodic reasons it is sometimes even necessary for an incomplete chord to be heard at times. In order to produce a good melody small mistakes are often permitted in the inner voices, indeed, one even finds them in the outer voices o f [works by] great masters, who preferred to concede a little mistake for the sake o f a good bass line. But this already requires a vast [amount of] experience and judgement, without which it is better to refrain from taking such freedom. Since this example is based on the natural style o f composition, in that no artificial ties, imitations, modulations, etc. are to be found in it, we also want to give a few examples which include artificial techniques.

Ex. 75 Example o f Imitation

58 In the projected third Dilettant E x . 75: b. 4, viola, first note e ' in original.

n o The Musical Dilettante

Ex. 75 (co tit.)

The initial theme [of Example 75] consists o f only two measures, and yet it is capable o f being employed in various ways and o f providing the opportunity for an extensive treatment. At the beginning it is imitated by the second voice while the other two voices each carry on a separate melody. It is worked out this way for eight measures. Next [m. 9] a short, playful m otif is introduced, which is followed by a general pause. Then [m. 13], in order to show the amateurs how the theme also could be distributed among four voices, we have repeated it once more. The viola begins and is answered by the first voice. The bass takes over the theme and the first voice accompanies it in thirds. Then [m. 16] comes the second voice, followed again by a repetition in the viola, while the second voice accompanies it in thirds. N ow [m. 18] the first violin commences the theme

Combining four voices i l l

once more and the bass makes the imitation. Then a repetition occurs in the first chord, [played] by the second voice [m. 20]. The first voice then makes a literal imitation, and the second voice accompanies in thirds, resulting in a transposition down by thirds. Finally the melody presses toward the formal cadence and the close. This imitation is contrived merely from the chords o f the first eight measures, and consequently is indeed very different from the fugal style or canonic procedure. The first two measures, as was said above, have the main content. The other measures owe their existence solely to the transposition o f these two measures. [103] We still want to draw up another example with modulations into other keys, in which the two upper voices carry out the imitation, while the others each play their own separate lines [Example 76].

Ex. 76

We have continued with the previous theme for the purpose o f demonstrating that even the smallest initial melody, or a part taken from the middle o f a piece, might be used in many different ways, o f which more is to be said below.59 Here the bass has this theme all alone, while the second voice introduces an unexpected theme which includes

59 See p. 152


tones foreign to the key and is imitated by the first voice. The transposition is then carried along to the diminished seventh chord, which thereupon is resolved into the third chord in D minor. The entire harmony consists o f the constant alternation o f the first and third chords. The latter directs the modulation into another key and the former provides the corresponding resolution. The viola has the most simple accompaniment o f all, but it does have its own distinct movement.

We have already said that all the special alternations etc. which are to be encountered in artificial three-part composition, could be used here also. There are so-called quartets in which only the first voice is in the brilliant style and the other voices merely carry on the simple harmony.60 One finds a few in which the melody is divided between two voices, and the other two merely accompany. There are also those in which all four voices concert among themselves [Example 77].

Ex. 77 Example of a Four-Part Allegro Movement

Allegro moderate

60 The first o f these types, which flourished toward the end of the eighteenth century and beyond, probably corresponds to the virtuosic “quatuor brilliant, which features brilliant soloistic performance . . (Levy, Quatuor Concertant, p. 327, n. 2); the second type represents an intermediate stage between the trio sonata (with the viola replacing the harpsichord in the middle range) and the more democratic concertante quartet; the third type corresponds to the quatuor-concertant style, popular in France between 1770 and 1800 (ibid., p. 46). Many of Daube’s “ four-part scores” contain the stylistic traits of the latter type, as analyzed by Levy. See Hanning, “ Conversation,” pp. 512-28 and, regarding “a style which sought to blend the popular elements o f Paris with the intellectual traditions of Vienna,” see Hickman, “ Leopold Kozeluch,” pp. 42-54.

Ex. 77 (cont.)



Ex. 77 (cont.)

The bass takes up the initial theme at the end o f the first measure while the other voices continue their own lines. At the end o f the fourth measure the two violins have a very short melodic m otif without any other accompaniment. In the sixth measure all four voices rejoin. A t the beginning of the seventh measure the short melodic m otif is stated several more times, with a strong forte heard each time in between. Now, for a change from the singing style, a very strong rushing m otif appears in all four voices and, with a slight variation, continues for six measures. After this, another short singing m otif appears [m. 15] and is repeated with some variation. Then come two measures [mm. 17-18] which contain a mixed melody, that is to say, they are composed of both the singing and the brilliant styles. The melody seems to remain in the key o f E major, since the second and third chords o f this key are there, but the D which accompanies it introduces the third chord in A major, the harmony o f which very suitably serves to resolve the preceding chord. After this harmony follows the third chord in D major which, because o f its great similarity to the ruling chord in A major, can perform both of these roles. N ow the cadence in A major ensues and, by means of a rapid ascending passage, the melody arrives [m. 19] at the first tone of the short singing melody of a few measures previous, which is accompanied by sustained tones in the bass and viola. This and what follows is [no] merely a repetition. After this the first violin has three sustained tones, during which the other voices modulate into several keys, namely into

Combining four voices US

D major through the harmony o f its third chord, and then into E major, likewise through its third chord [m. 23, beat 2]. The third chord in A major now appears and the formal cadence follows.

This example could be pursued much further if one wanted to show the proper arrangement o f the melody and harmony, but since we have resolved to present everything easily and clearly but not copiously, any further continuation must be omitted. It w ill be sufficient if an amateur has this much knowledge and has imitated a few examples. Then it w ill not seem difficult to him to extend each piece further, especially since we really have prepared the way in the thorough-bass method, as well as in this work. Still, we w ill continue to do everything possible to facilitate the acquisition o f this knowledge.

A F E W R E M A R K S P E R T A I N I N G T O F O U R - P A R T C O M P O S I T I O N

First an amateur should consider carefully which type o f four-part scores he wants to construct; whether he wishes them to be in the manner o f symphonies, or in the style o f concertos, and whether they are to be composed like the simple or the artificial three- part sonatas. The first type is based on the alternation o f the rushing and brilliant style with the singing style. Here the first Allegro can consist o f three parts rushing style and one part singing style.61 The second type is that in which the first voice has various solos, which are lightly accompanied at times by one or two voices. This accompaniment, moreover, incorporates various rests. The third type is distinguished by nothing other than the alternation o f four-part and two-part harmony. The melody o f the first violin continues practically from beginning to end with singing passages in the style of the Italian arias, though without ritornello. The harmony here serves only the melody, without having many different changes o f motion. We pointed out the fourth type a short time ago, and sought to illustrate it by means o f examples.

W hen an amateur has chosen one o f these four styles, he should try to find a melody which is suitable for it. Then, after a melody has been found [ill] and written from the

beginning to the end o f the piece, it must be analyzed harmonically. As was recommended for three-part composition, the chords can be indicated simply by the numbers 1, 2, 3, written underneath. Then one determines which melodic m otif may be set in four, three, or even two parts. We have given instructions for this also in the preceding discussion o f three-part composition. One must also carefully consider whether these melodic motives are to be divided between the first two voices. Then one should begin to write a bass for the melody, employing mainly the roots and their thirds. The other intervals

61 These stylistic proportions, when combined w ith remarks about the “ proper division o f the main melody,” hint at

Daube’s ideas on form . See pp. 97-8. In this case, the proportions w ould correspond approximately to a sonata

form w ith the second-key area in the singing style. Daube’s advice for a slow movement reverses these proportions.

See p. 116 . In E x . 77 , and in a proposed continuation for E x . 84, Daube even correlates style and formal function,

suggesting that the modulation to the first new key take place during a rushing and brilliant passage - presumably

corresponding to the transition o f a sonata form . See p. 132. Com pare the four main types o f phrases or periods

mentioned by M om igny (Cours complet, vol. II (1803-06), 397-8).

Ii6 The Musical Dilettante

are brought into the bass only when it is supposed to carry out a particular melody, or when it moves in thirds or sixths with the upper voice. They also may be set in the bass i f they repeat the directly preceding tone, all o f which has been cited at various times. W hen the bass is also finished, the second voice is written. The preceding examples show that this voice might sometimes move in thirds or sixths with the upper voice, but it is permitted to make such passages with the bass as well, especially when this is suggested by the chords. The bass may also be altered, or even omitted entirely, if the second voice can thereby achieve a good or better effect for the main melody. Many times the full harmony cannot elicit the same effect as that produced by an incomplete harmony. The ear is simply far too accustomed to variety. A melodic m otif comprised o f only two voices more often seems exceptionally beautiful when preceded or followed by the complete harmony in the rushing style. The viola is the last part to be composed. It sometimes moves in octaves with the bass,62 or else is given whatever tones are still missing from the full harmony. Often it may have the tones which remain stationary. W hen it plays the role o f a high bass, the regular bass rests or joins in only occasionally, since the viola makes a good impression too. The viola can contribute greatly to the enhancement o f the harmony o f a piece if it is written by a skillful master.

This, to some extent, is the procedure an amateur might follow in constructing a four- part Allegro movement. To write down each and every instruction here would result in prolixity, and certainly we must omit much more of which experience itself is the teacher. Composition, the setting or distribution o f the voices, the continuation of the [112] melody, etc. are things which, without good talent, time, and practical experience, are learned in only a mediocre way, despite the best introductory method. The slow pieces in a four-part score can be composed in a different way. The preceding description is taken as a basis for this one. The alternation o f the brilliant and the singing styles may occur in slow movements also, but the former must contain more running than skipping passages. The proportion advised here is three parts in the singing style to one part in the brilliant style. To the previously described four styles of melody and harmony, can also be added that in which the melody o f the upper voice is very songlike, while the second voice proceeds with a steady, moderate movement, and the bass joins in only occasionally. The accompanying voices also can carry on a continuous or intermittent pizzicato. The melody o f the upper voice can also be repeated alternately in the second voice by muted violins. W hen the accompanying voices are to play piano continuously, the attentiveness [of the listeners] is increased if the piano passage is interrupted occasionally by a single forzando tone.63 The melody can also incorporate very brief

62 Early quartets and symphonies are full o f passages in w hich the viola doubles the bass line. This practice strengthens

the bass at strategic points and provides textural variety. In his examples, Daube couples the viola w ith the bass at

the beginnings and ends o f phrases (thus shaping them texturally), on leading tone-tonic progressions, and in

passages o f parallel thirds and sixths in alternation w ith two violins. See n. 2 1. A lthough two-part orchestral w riting

declined after the transition period, a three-part texture o f one bass line and tw o trebles remained an acceptable

variant throughout the century. See Carse, X V IIIth Century, pp. 146, 193.

63 It was this very technique w hich so delighted the London audience in the Andante o f Haydn’s Sym phony N o. 94

that the entire w ork became known as the “ Surprise Sym phony.” Daube’s remark preceded the Haydn symphony

by eighteen years! It is possible that Haydn knew the Dilettante, since he did own Daube’s General-Baf (1756).

(See the Introduction, p. 9) M ore probably, however, in an era w hen dynam ic contrasts were increasingly in vogue,

Haydn simply epitomized a comm on stylistic trait by using it in an especially effective way. See p. 130.


rapid passages which, however, must be played vigorously. For variety, the accompanying voices may sustain quite long tones, specifically those that can remain stationary throughout two or three chords. This oblique (einseitig) motion produces a good effect if it does not appear too often. The last Allegro is like the first, in that the same things can occur or be observed in both, except that the last Allegro is usually in triple meter.64. Yet it is to be said here that one is not obliged to display the art o f diversified harmony in this movement to the same extent as is customarily shown in the first Allegro. It suffices for the melody to be fluent and gay, and for the harmony to be varied occasionally.

Ex. 78 Example of a Four-Part Andante Movement

Adagio

64 Daube obviously has in mind the three-movement format derived from the Italian sinfonia, rather than the four-movement format often used in Vienna at this time (LaRue, “ Symphony, I,” The New Grove, vol. X V III, pp. 439, 444)-

n8 The Musical Dilettante

We did not intend to introduce many modulations or foreign harmonies here, but rather merely to show the amateur the easiest alternative, that o f an altogether simple harmony. But nevertheless, we hope that after a beginner can construct three different motions to a melody he might be able to go further on his own. At any event, in the discussion o f five-part harmony we will have another opportunity to present more o f this. The melody o f this slow piece [Example 78], especially the first part, is supported by the most simple alternation o f the three chords. The second violin has only a single kind of movement, which usually is assigned to the viola and to the bass. Meanwhile, the viola carries on a separate melodic line which, for the most part however, is based upon broken chords. And since each o f these three voices generally has one sort o f movement, it is necessary for the bass to move at a very slow pace, as it does, playing pizzicato besides. The second part [m. 9] commences, to be sure, in E major, the first modulation, but it returns again at once. A t the beginning o f the fifth measure [of the second part] a brief modulation into the key o f A minor occurs, but the retention of the two tones, C and A, in the harmony gives rise to a few chords foreign to the key: the first of these is the ruling chord in A minor; the second is the five-three or the first chord in F major; the third can be accounted for as the harmony o f the third chord in G major; the fourth is the compound [116] minor seventh chord in E minor, which here, however, is resolved into the third chord o f A minor [m. 15].65 A formal cadence ensues [m. 16]. And after this a few tones with accompanying harmony are played very strongly, followed by a piano repetition o f the cadence and the conclusion. The bass here generally carries on its slow tones, which are also taken up intermittently by the second voice while the viola stays with its melodic line.

In the performance o f such a piece, it is particularly important to make certain that the accompanying parts leave the strength o f tone to the first violins, so that the main melody may be heard distinctly throughout. Even in those places where the accompanying parts have a forte marking, the main melody must be projected well. If another

65 Juxtapositions o f m ajor and m inor modes are rare in Daube’s examples, although quite comm on in the quatuors

concertarttes analyzed by Levy (Quatuor Concertant, pp. 135, 146).

Composition in five and more parts 119

part besides the main voice ought to be heard prominently, it is the bass, provided there are not too many players on that part. One knows how effective the balance o f the instruments, the expression o f forte and piano, and the clarity o f the execution can be. Even if a piece is presented more than once, by different but always qualified people, one will, without thinking about it, receive a different impression [of the piece] each time.

6

COMPOSITION IN FIVE AND MORE PARTS

Scores comprising five voices fall into the same categories as those in four parts which were described previously. The different styles, the imitation o f one or several voices, the alternation o f the brilliant and the singing styles, etc., can be introduced here also. The only difference is the fifth voice. It may be introduced in a concerting manner, or it may alternate with another voice, or all the voices may concert together, etc. A ll o f this depends on the intention o f the composer. Because composition contains no natural chords which comprise five tones, it is quite easy to guess that the voices must take turns doubling the octave or the unison. Even the compound artificial chords, which really do have five different tones, can seldom be introduced, and therefore one must resort to alternating the doubled tones among the voices. An example w ill show this more clearly [Examples 79-80].66

Ex. 79 Example of a Movement in Five Parts

w Ex. 79: mm. 3-4, the second part has a tie over the bar line; m. 15, “ 5 ” was originally placed over the bass B-flatin m. 14.

120

Ex. 79 (cont.)


10

15

Ex. 8o Variation of this piece, written in a rapid tempo

Poco allegro


Ex. 80 (cont.)

[120] These two examples, the second of which springs from the first, are based on nothing but the duplication o f the octave, third, and sixth, reckoned from the bass. These intervals are doubled alternately from beginning to end. For that reason we purposely have presented this first five-part example in long notes throughout, so that one might examine this method more clearly. The first chord is the ruling chord, the root and third o f which are doubled. The second chord has only the octave doubled. The three upper intervals o f the minor seventh chord are retained, but the bass disregards this retardation, going instead to the tone which actually belongs with the following harmony. These three retarded tones are rightfully treated just like real appoggiaturas, and only the bass is doubled here. The proper harmony for this bass tone then has the minor third doubled, as well as the bass itself. N ow [m. 3] the bass remains stationary and the harmony of the second chord appears above it, because the bass tone also belongs in that chord. Here the minor sixth is doubled. The retained tone in the second voice occasions the reappearance o f the minor seventh chord, the third of which actually should be doubled. But since the fifth is already present in the viola part, it is doubled here, though it immediately


changes to the third.67 This resolves into the first chord [m. 4] in which the octave and the third are doubled. The retention o f the first voice allows the bass to descend a third and indicate the harmony o f the ruling chord in E-flat major,6® because B-flat and G are naturally found in both o f these ruling chords. Here the octave and third are doubled. Because the preceding two tones are retained once again, the bass returns to the harmony of the first chord in G minor [m. 5]. The third69 and octave are doubled. The fourth in the second voice is disregarded, since it was retained from the previous chord, but here immediately moves on. N ow the harmony of the third chord in B-flat major appears, in which only the sixth is doubled. The first chord which follows [m. 6] has nothing doubled but the octave.70 At the beginning o f the ninth measure, the upper voice goes into the key of E-flat major. The indicative third chord has a doubled third and octave. The same also occurs in the subsequent ruling chord. Then the soprano E [m. 10] indicates a move into the key o f F major. The octave is doubled in this third chord. The first chord, into which it resolves, contains a doubled sixth and octave. The retention of the bass [A, in m. n] provides the opportunity to return again to the key of B-flat. Here the third is doubled. In the following chord both [121] the third and octave are doubled. The stationary tone in the first voice then [m. 12] assumes the harmony o f the third chord in E-flat major, in which the second is doubled. The chord o f resolution follows, with the octave and third doubled. Then [m. 13], since the upper voice remains stationary, the bass takes the tone F-sharp, thereby producing the minor seventh chord in G minor, in which only the octave is doubled. The corresponding first chord arrives and then, to the B-flat and G which remain stationary, the bass adds E-flat, and later the seventh, C .71 Then this resolves into the third chord in G minor and the ensuing cadence.

The second example [Example 80] is nothing but a variation o f the first, except that the length o f the tones has been halved, and it has been written in 2/4 meter.72 For variety, the harmony is set in four parts starting in the ninth measure. After several measures the fifth voice again joins in the harmony. We have analyzed the first example so that a beginner might perceive that the basis o f composition in five and more parts is merely the doubling o f a few intervals, and that the octave, sixth, and third are most suitable for duplication. The ancients also placed great value on these three intervals and based their artificial pieces on them. They could, in fact, write a four-part piece very quickly

67 Daube om its reference to the /• sharp, speaking as i f the c' were repeated on beat 3.

68 “ D*sharp major” in the original; the three subsequent usages o f “ D*sharp” in this paragraph have all been rendered

as “ E*flat.” See n. 46.

69 “ sixth” in the original.

70 Daube overlooks the doubling o f the third, d\

71 Daube’s reference to the “ the seventh, C ” is unclear, especially since he always considers C to be the root o f this chord,

the second chord in G minor. Perhaps it refers to the interval between the soprano at and the follow ing bass c in

the penultimate measure.

72 These tw o examples represent a microcosm o f Daube’s approach to, and co*ordination of, the strict and free styles.

B y recom posing the “ long-note,” quasi bound-style Adagio as a “ poc. Allegro” in the galant manner, he demonstrates

how the same harmonic structure m ight serve as the basis for either style, depending upon the degree and type

o f elaboration. R iepel shows a similar stylistic transformation o f a single melodic line (Anfangsgriinde, vol. IV (1765),

p. 31).


i f they had constructed but one voice beforehand. The bass was formed by setting in constant alternation the octave, third, and sixth below the upper voice. For example, if the upper voice had D, the bass could have F, B, or D. If the octave were set in the bass, and the next tone in the upper voice were C , then A , the third [below] the upper voice, would have to appear in the bass. But if one did not want to use the third, the sixth, E, might be permitted. If B were then to appear in the upper voice, G or D would be set in the bass. In short, these three intervals were alternated constantly. The addition o f a second part to the melody had to be continued in this manner throughout. Next they wrote two more voices, by means o f transposition. Each voice was transposed up a third, thus forming four voices which, however, moved at the same speed. In writing the first two voices, only contrary motion was observed. Therefore, if we knew o f no better way, but did understand the rules o f variation, we then might simply vary the two upper voices, that is to say, provide them with passing tones and skips, in which case some use could certainly still be made o f them. [122] Later, in discussing fugue subjects, we w ill have something more to say about the use o f this style o f composition.73 We have inserted this account here only in order to demonstrate the usefulness of doubling these three intervals, and especially to show that they occasion no errors in composing for many voices. It would be very advantageous for a beginner to arrange the following exercises. First he should write two voices and then construct another part to serve either as the first voice or the viola. It could even be tested to determine whether it might be adapted as a bass part by rearranging one or another tone according to the principles o f bass writing. After the third voice has been completed, this endeavor might be pursued by setting another voice to these three, and that in whatever position is suitable for it. For example, i f the first voice were written neither too high nor too low, another voice, which then could serve as the first voice, might quite conveniently be put above it. The same thing might occur in the low register also. I f the bottom voice is not set too low, another bass part can always be added below. Then, when the fourth voice of this exercise has been completed, one investigates the possibility of adding another voice according to the previous directions. In doing this, o f course, one sometimes must incorporate short rests, perhaps even whole measures o f rest, in order to maintain the diversity o f the harmony. One may well be advised to observe the three different motions by which the voices move in relation to one another. After the fifth voice also has been constructed, one could first determine whether or not two horns might be added. Later we w ill show how to write these parts. Meanwhile, every connoisseur o f music knows that this instrument is given sustained tones and frequent rests, and therefore is best used only in brilliant pieces, where it serves to greatly reinforce the harmony. We are sure that such an exercise could contribute to one’s knowledge o f both melody and harmony, and therefore probably no one would regret having worked through a few examples in this manner. Practice makes the master, and mastery is attained with moderate effort, if one has laid a good foundation in theory beforehand.

73 See Chapter 10, especially the relationship of symphony and fugue, p. 186.


Ex. 81 Another Example with Sustained Tones

Flutes

Andante

[Violins]

[Bass]

i

I

J e 1 e

m

m

m

m

[124] Here [in Example 81] the two violin parts are constructed first. One sees that the harmony o f these two voices and the bass is arranged from a succession of chords, each o f which must be considered from two points o f view. Several times in our thorough-bass method we said that the similarity o f a ruling chord to the third chord o f another key is what gives double significance to such a harmony, which consequently may play the role o f the ruling, as well as the subservient, chord. But here the major thirds, which otherwise characterize the third chord, are sometimes omitted. This example shows that the first chord in E minor may, at the same time, also be the third chord in A minor, into which key it is resolved here. The A-minor chord appears, but at the


same time again performs a double role since, on account o f its similarity to the third chord in D major, it likewise is resolved into the ruling chord in this key. The harmony continues in this manner by means o f transposition, until the E-minor chord eventually appears, whereupon the concerting o f the two voices ceases. Meanwhile the two flutes behave quite differently. The second flute commences with the fifth, B, but then remains stationary, despite the harmony of the A-minor chord. The first flute, however, completely disregards this retained tone and begins with the third above the bass, likewise remaining stationary during the next measure, while the second flute descends a tone. This alternation o f held-over tones in the two flutes, in combination with the bass, gives rise to an alternation o f ninth and seventh chords, the origin o f which we have explained.

Sustained tones such as these produce a good effect in large scores. They make the harmony full and easy to perceive. They have been introduced into symphonies in the current taste, where they enliven and strengthen the brilliant passages.74 We now turn to six-part composition, where we must repeat what we said in regard to five-part composition, namely that four-part composition constitutes the groundwork here also [Example 82].

Ex. 82 Example of a Six-Part Piece

74 Carse considers sustained w ind tones a hallmark o f the newer, progressive style o f orchestration (Orchestration,

pp. 132 -3 , 139). A m ong the composers who effected the transition, he names A . Scarlatti, Rameau, Keiser, Telemann,

the Graun brothers, Hasse, Wagenseil, and C . P. E. Bach - most o f w hom were associated w ith Daube either

geographically or stylistically, if they were not actually known and admired by him.


Ex. 82 (c o n t.)

(M r r r r r « = > £ e =\k— f— if f

m - ? Ab £ = # = d

\s £ rrrr .rrl

U- ■■■ -

[$£-----J_----- £_p 7-d-

# = = = ML - =4

r r LLn 1 -|

Ltta |» f

U 0 f JTnrm-=*F=i==[m. 1, vn. I, an eighth rest in the original]

'd irJ J J I I'r r r 1 ^

This is the easiest way to write six parts. To a great extent it comprises the current taste in symphonies. Bound, artificial harmony should seldom appear in this style, because the brilliant and fleeting melody is not consistent with great artifice.75 The two horns are preferably in unison with the two upper voices whenever possible, that is, when the melodic motif consists of just those tones which are convenient for this instrument, which otherwise has either sustained, or at least rather slowly moving intervals. However, when very rapid passages occur in the upper voice, the horns usually have the roots of the chords, in which case they often play an octave apart. One sees that various rests occur here and there, so as to avoid always maintaining the harmony at the same level o f intensity, and also to provide for the wind instrumentalists to breathe.76 In six-part

75 In general, the qualities attributed to the symphony by other late eighteenth-century observers likewise center

around simplicity o f melody and harmony, and breadth o f affect. J . A . P. Schulz speaks o f its unadorned melody and

magnificence o f character, and the “ sonorous, sparkling, and fiery manner” o f the chamber symphony in particular,

which may concentrate on displaying the “ splendor o f the instruments” (Sulzer, “ Symphonie. (M usik.),” Allgemeine

Theorie, vol. II (1774), p. 1122). Kollmann compares the symphony to a large picture to be viewed from a distance,

pointing out the need for bold strokes, plain, natural harmony, and “ a simpler sort o f Subjects . . . than what would

be proper for the finer sort o f Sonatas,” since “ Symphonies . . . must be more grand and bold than sublime and

embellished w ith graces” (Essay (1799), pp. 15, 17 , 92-3). Koch quotes extensively from Sulzer, but speaks o f the first

A llegro as m ostly magnificent and grand, the Andante as pleasant, and the last A llegro as cheerful (Versuch, vol. I ll

(J 793)» PP« 30 1-0 2 , Eng. trans., pp. 197-8).

76 Daube, a flute player, knew the practical importance o f such resting places, as well as their value in varying the texture.

Leopold M ozart says that “ signs o f silence” are often employed “ for the sake o f elegance,” since “ a perpetual

continuance o f all the parts causes nothing but annoyance . . . [while] a charming alternation o f many parts and

their final union and harmonization give great satisfaction” (Violinschule (3/1787), p. 33, Eng. trans., p. 36). See n. 49.


composition [127] the singing, rather slow-moving melodic motives usually are expressed piano, while the horns rest. Also, such passages are sometimes set with only three parts. If the horns are to play short solos during these passages, they usually have no other accompaniment, although the bass, particularly a bassoon, might be useful here.77

Eight-part composition has the same basis [as six-part composition]. In brilliant passages the four wind instruments have mostly sustained tones. I f melodic motives are included, the winds (except the horns, which do not naturally possess all the tones) are usually set in unison [with the strings]. The two oboes or flutes also are given the small solos which are interspersed throughout a long Allegro. These solos consist mostly of short singing passages, in which the two wind instruments usually move in thirds or sixths, except when they are supposed to concert with one another. It is also effective for the melodic m otif to be distributed in such a way that the horns take a turn with it, or even concert with the oboes or flutes. Then, if an unexpected loud tutti suddenly interrupts in the fourth or eighth measure, [the effect of] the singing m otif is heightened even more. Many symphonies in this beautiful style have already been written, and they are a credit to their masters. We would like to offer a little test-piece of this type, so that the amateurs can study this style from the example itself [Example 83].78 If they have contrived small imitations even once, it w ill not seem any more difficult to work them out further.79 Moreover, at a later time, we w ill remember to give additional instruction in this technique.

This example, written according to the current taste, contains no extraneous chords whatever, but only those naturally found in each key. The A in the ninth measure might possibly be considered foreign to the key, but it is there merely in order to fill the space between A-flat and B-flat. W ith its harmony, it can also pass for the compound major seventh chord in B-flat major, in which case the subsequent third chord in E-flat major 80 must simultaneously [131] represent the harmony of the ruling chord in B-flat major. However, this tone A could also be omitted completely, and the preceding tone repeated instead. This would not be an error, since with oblique motion it is permissible for different chords to be sounded successively against a stationary tone.

This symphonic movement begins, to be sure, with eight voices, but by the middle of the measure [1] it is already in three parts, because the oboes and viola proceed alone, a change which also occurs in the next measure. The following four measures have eight-part harmony. After this [m. 7] there is another change from the full harmony.

77 This is Daube’s only mention o f a specific bass instrument in this chapter. He assumes that the bassoon would be

available to accompany solo horn passages - a suggestion which recalls the use o f the bassoon to support w ind melody

instruments in the traditional trio sonata, but one which also encourages the possibility o f an independent bassoon

part. J . A . P. Schulz likewise mentions only Bafiinstrumente w ithout naming them (Sulzer, “ Symphonie. (M usik.),”

AUgemeine Theorie, vol. II (1774), pp. 112 1-2 ) .

78 E x . 83: vn. I m. 4, beat 2, middle note b '-flat in the original; bass, m. 4, note 3 ,/ i n the original (noted in Druckfehler).

H orns, m. io , the “ M annheim rocket” was presumably intended for the violins.

79 N ote Daube’s references to im itation for orchestral instruments throughout (especially in Chapter 8), and to the use

o f double counterpoint in arias and symphonies, pp. 228-9.

80 “ D -sharp-m ajor” in the original. See n. 46.


Ex. 83 Example of an Eight-Part Symphony Movement

Allegro

[Violins

[Oboes or Flutesl

[Horns]

[Viola]

[Cello/Bass]

E x . 83 (cotit.)


f i fo b j— - — I I . F = |

& [>, - =

P 7 ? 7 ^ 7 j ' 7 JP

■-K K - - * = - r d

—a 1------------ ------------------------ -Z-------------J-----------

/ '------- I-----------------S J - k ------- B--------------i-----------

p 1 = <

L m 0 _ = 1

4 'i J ’ l p i J ) j f a 7 = L =

- 1=1$ 11 r =

^ r— j _ =

1 —

h o ^

7 7 r 7 K 7 ^ r 7 *

§ H r r = |1

2 p i r = ---------------------- l i r r r w i

L i b , 0

-------------------------------E t i e - P — ^

I J r f " n

U = = J = J J r r ^

The two oboes begin a solo, which is answered by the horns. Meanwhile, the viola has sustained tones. Then the harmony becomes six-part again [m. 9], and immediately afterwards the entire complement [of instruments] re-enters. The main melody [in violin I] contains very few passing tones. There are a few at the beginning o f measure 5 where they appear as appoggiaturas. Here C is a repetition of the immediately preceding tone, and therefore passes for a retained tone. In view o f this, the interval from the bass is judged, not from the C , but from the following B-flat. The other passing tones are in the proper [rhythmic] position, since the first tone is in the harmony and the next one is passing. A little practice makes it easy to recognize them.

In the construction o f symphonies it is essential that the rushing and brilliant passages be given the fullest harmony, with rapid movement in both upper voices, and a steadily moving bass. Recurrent passages in the singing style are left to the wind instruments, to which one gives more slow melodic lines than difficult passages, which quite often hinder the beautiful singing style. This would be the case unless one wanted to fashion something especially for two wind instruments, and even then the nature of the instrument must be examined carefully beforehand. Otherwise it would be better to stay with a natural, easy melodic line. W hile concerting passages for two like instruments may be introduced, it seldom produces a good effect for two different instruments to concert together with the same passages. However, if yet another change is desired, it is preferable


to give a different melodic m otif to each pair o f instruments, which play them by turns, as here. Then, if the interplay o f the singing m otif in the wind instruments is interrupted by a single forzando tone with the complete harmony,81 the change produces no ill effect, as we may see from the following ten-voice example [Example 84].

Ex. 84 Example of a Ten-Part Symphony Movement

f i f Z .

81 See n. 63.

Ex. 84 (c o n t.)



[136] This example, as the preceding one, is written in the unbound style. The entrance o f the initial theme has a splendid effect, created by the parallel motion o f the main voices. Also, the open-string, free-tone G in the third measure produces a special impression through the intensified unison o f the string instruments. The following brilliant passages, the sustaining o f the wind instruments, together with the bass melody, provide a very good change from the initial theme. Then, at the commencement o f the ninth measure, the full harmony is interrupted by a singing motif. Here all o f the wind instruments are heard in various alternations, with each pair o f like instruments sounding a short solo, while the violins and viola play a very light accompaniment. Then [m. 12] the two violins also enter, along with the bass, and help to extend the change o f melody and harmony. This four-measure singing [passage] can be repeated, and then followed anew by a rushing and brilliant melody, alternately high and low, which should make its way through various chords until the cadence in the first new key. The number o f measures o f this full harmony is at the discretion o f the composer. It is effective for this cadence to be heard once again in the same key, especially if something unexpected appears before the cadence is repeated. A description o f the remaining procedure can be reviewed on page 91 o f the thorough-bass method, and this subject w ill be mentioned again in the future.

W ith the exception o f symphonies, one very seldom encounters such fully accompanied scores, unless it would be in a few opera arias, the text o f which required an alternation o f the full harmony. Ten-part composition is particularly appropriate to the church style,82 where it can be employed very often. More ties and modulations are also found in this style, although here especially one must observe the expression o f the words and the affect. The harmony must be guided by these, rather than by art. Pieces for even more voices are rare because they cannot be performed everywhere for want o f qualified people. They are composed, as were these examples, by doubling a few intervals. Anyone who has a good understanding o f what has been mentioned so far, and has practiced accordingly, w ill very easily understand how to write even more voices. Therefore, we consider it unnecessary to continue this discussion further.

7

V A R I A T I O N

[137] Strictly speaking, this discussion does not pertain to the [process of] combining the voices, in that it is more concerned with melody. But since the [technique of] variation is also based on harmony, which in turn is bound up with it so closely that neither can exist without the other, we have considered it necessary to insert this [discus

82 See nn. 13 and 157.

Variation 133

sion] here. It is certain that artificial constructions o f all types o f fugues, alia breve, canons, etc. depend on this [technique].83 H ow can one write a melody to a bass theme without a basic knowledge o f the art o f variation? As has been said already, variations flow from the chords themselves,84 but with the distinction that the passing tones participate on an equal basis with the proper chord tones. Whereas we also have proposed to describe as clearly as possible the artificial style o f composing fugues etc., this discussion will serve simultaneously as a preparation, especially since the proper use o f variation has, as yet, very seldom been examined and explained. In the future we will show that even the invention o f melody may, in part, be traced to the art o f variation.85 Here we must use the foregoing method, taking up each interval under the instruction in its corresponding harmony. We w ill take the key o f G major as an example. N ow if a melody in this key is to be varied, and a G were to occur in it, one would have to determine whether this tone belonged in the first or second chord, which would quickly be discovered under the instruction in the key o f G major in the thorough-bass method. If this tone belonged in the first chord, it could be varied with the three intervals o f this chord, even without passing tones, for which both harmonizing intervals must be used. The three tones may be situated in the upper or lower [register].86

Ex. 85 Variation of the First Chord without Passing Tones

83 J . A . P. Schulz also recognizes the role o f variation in both the free and strict styles, as technique and as form (Sulzer,

“ Veranderungen. Variationen. (M usik.),” Allgemeine Theorie, vol. II (1774), p. 1207).

M See pp. 185-6.

85 T his is another reference to the projected fourth volume o f the series, Anleitung zur Erfindung dgr Melodie.

86 Daube’s variation figures often suggest the progressive rhythm s o f species counterpoint. See n. 30.


Ex. 85 (cont.)

These fifty-one melodic motives [in Example 85] may all be used in varying the single tone, G, and there are still far more to be discovered if the pitch range is adapted to the instrument on which they are to be performed. It is true that one uses the entire chord for these motives, when actually a single tone was to have been varied, and that the other two tones, B and G, are also varied in the process. But it is sufficient that they all belong in the same harmony and [139] are in closest accord with one another. Indeed, owing to their pure blending quality, the ear is left with the impression o f a single tone when all three o f them are played simultaneously on the organ, harpsichord, or three well-tuned wind instruments. If one were to use passing tones in addition, the three tones o f a single chord could be varied even many thousand times.87 Let us give a few examples o f this also [Example 86],


87 Daube’s schematic approach and counting o f variation figures recalls the ars combinatoria. See n. 9. Also notice Daube’s

comment that the art o f variation “ is inexhaustible and no number is capable o f defining its value” (p. 143). T his state

ment seems both to assert the qualitative value o f variation and to interject an irrational element into the calculation

o f numerical possibilities. T he latter suggests a turning from eighteenth-century schematic codifications toward the

Rom antic fascination w ith inspiration and infinity.

Variation 135

Ex. 86 (cont.)

[140] To these fifty-two classes of variation we could add many more, i f we had not resolved to discuss everything as briefly as possible. O f course, for all that, it sometimes happens that one must write rather extensively in order to express oneself clearly. Readers are dissimilar in reflecting [on these matters]. The first thirty-two o f the preceding short examples contain passing tones. The following motives, until number forty-eight, include appoggiaturas. Now, in the thorough-bass method, and here at the very beginning, we said that these tones merely contribute to the formation o f the melody, and consequently may not be given a bass.

Therefore, if these three tones are carried through an entire piece with more slow than fast note values, they can give rise to a canon o f as many voices as there are variations [on these tones].8® However, the piece may contain only a single chord. Even if intervals are borrowed from other keys they then are taken for passing tones, as w ill be shown below.

The second chord is even richer in variations because it has an additional interval. Let us set down the complete chord, and then write a few variations on it [Example 87].

Ex. 87 Variation of the Second Chord without Passing Tones

88 In Chapter 9 Daube often refers to variation in a limited chordal vocabulary. See pp. 157-8 . E x. 87: m otif 31, second

note was g " in original.

I3<5 The Musical Dilettante

Ex. 87 (com.)

These sixty variations and many more which are derived from an interval of this chord, can all be used in both melody and harmony. For example, one o f these variations could be used in an instrumental accompaniment for a very simple church hymn, and likewise a fugue subject could be worked out by this means. In symphonies, in slow pieces, etc., such passages can also be introduced occasionally by the inner voices, while the upper voice plays a slow, singing melody. The art o f variation is of no small assistance in embellishing the main melody if it is tastefully employed!89 No voice part can do without it. Yet one must not carry this to excess either, so that the main melody does not become obscured. It is also certain that through this process one can discover many good passages and singing motives which greatly facilitate the invention of melody for a beginning composer. Melodious little arias, menuets, etc. are very suitable for variation. Even the Adagio cannot be left without variation, at least if it is to be completely worked out.90

89 See n. 94.

90 Daube’s comment recalls that the Adagio - originally a cantabile-style Italian aria - w as one o f the last strongholds o f

the performers’ freedom to improvise, but that by 1773 it, too, was frequently “ worked out” in some detail by the

composer. “ It was form erly more easy to compose than to play an adagio, which generally consisted o f a few notes that

were left to the taste and abilities o f the performer; but as the composer seldom found his ideas fulfilled by the player,

adagios are now made more chantant and interesting in themselves, and the performer is less put to the torture for

embellishments” (Burney, “ Essay on Musical C ritic ism ,” General History, vol. I ll (1789), p. x , Mercer, vol. II, p. 10).

The appoggiaturas [in Example 88] begin with number thirty-seven and continue to the end. Anyone who contrives such practice exercises throughout the usual keys will become aware of great progress. If an amateur is thoroughly acquainted with the position o f the passing tones and appoggiaturas, he can construct as many variations o f a few notes as he might wish. From these he then may select a few which are compatible for one variation o f a piece, and others again later for a second variation, and so on. After this he should choose a menuet or short aria, and then use this or that ornamental figure (Mattier) throughout the entire piece. The only thing to be considered is that the menuet must have a good bass line which moves along quite simply, so that the different variations, some singing, some brilliant, running and skipping, can be fashioned all the more easily, and so that no unnecessary dissonances result from whatever passing tones occur in the bass.

The third chord admits o f just as many variations as the second chord, because it has the same number o f intervals [Example 89].

Ex. 89 Variations of the Third Chord without Passing Tones


Ex. 89 (cont.)

Space does not permit us to list all of the different possibilities here. It will suffice for each quarter [measure] to present a separate variation. Appreciably more variations w ill result if these are repeated in the high or low register,91 mixed with rests, dotted, slurred or detached, etc. A little reflection will yield many more. We w ill be satisfied simply to have given some instruction in variation and shown its value.

Ex. 90 With Appoggiaturas and Passing Tones

91 T his statement seems to presage Beethoven’s greater employment o f range contrast as a means o f varying color and

sonority in keyboard w orks. See p. 141. However, Daube does not include a minor-mode variation, or employ changes

o f tempo and meter as M ozart and Beethoven later do, and as later theorists suggest. Portmann, citing K . 284, states

that i f both the m elody and the harmony are changed, the result is called a double variation (Leichtes Lehrbuch (1789),

p. 38). A lthough Daube encourages expanding the variation to the bass on keyboard instruments and harp, he does not

devote the second variation o f the theme exclusively to the bass, w hich M om igny considers customary by 1806

(Cours complet, vol. II, p. 607).

Variation 139

These variations [Example 90] o f a chord which include appoggiaturas and passing tones can be combined at will. For example, one could take half o f the third measure, establish this m otif as the variation o f a piece, and carry it through all three chords. For a change, one might include half o f the fifth measure, and in this way an entire variation on a short aria or menuet could be assembled from these two motives. I f one so desired, three or even four motives might feasibly be combined into one variation. It sometimes produces a good effect i f quarter notes, which are simply octaves of the intervals in the three chords, are incorporated into these variations. Double stops, arpeggios, short appoggiaturas, and many intermingled trills are also good when introduced at an opportune time.

If a variation is to be written for keyboard or harp, one is guided by these instruments, and so introduces the variation into the bass also. Here it is good if the bass occasionally plays broken chords, then alternates with the upper voice, contrives imitations, etc. And, due to the wide range o f these instruments, the variation can expand into the high and low registers, which cannot happen with the other instruments because their ranges[145] are not so large.92 However, moderate limits must be observed here also. Not all variations are good, even if they have been constructed in accordance with the strictest rules. Melody must never be restrained by art. The rushing style should always be interrupted by something delicate and melodious, [a contrast] which is to be observed here also.

Ex. 91 Example with Variations

Andante

p m_ 0 J>- 0 0

^ H i t 1 - 1=

J . J..

S

s m

= J * d J-J - 1

/> hi II

—J-----------1

W rm

J. #>: r - H 7 - If-f r r : 4 r - r - H

92 Daube’s frequent emphasis on idiomatic w ritin g in this chapter is a reminder that the theme and variations form

often provided a vehicle for virtuoso finales consisting o f variations (originally improvised) on a well-know n tune.

A lso see p. 134. Historically, these late eighteenth-century variation finales can be seen as a link between the im pro

vised ornamentation o f a com position by the performer, and the improvised composition o f a w ork by nineteenth- century virtuosos such as Chopin and Liszt.


Ex. 91 (c o n t.)

[146] The first concern in a piece which is to be varied [see Example 91] is to make certain that the bass is well composed. Then one should carefully observe to which chords the tones o f the upper voice belong in order to distinguish these from the passing tones. After this one would select from the accompanying examples one or two types o f variation and, guided by each tone o f the melody and the appropriate chord, continue to write them until the end o f the piece. For example:

4' (JJ CJ-TI & lQ 1 t "t 1 cJj LU I l S P

- f---- ^ — 1 ----------- ---------------- F " " 1

_ p — 1 J 1

Here we have taken the thirteenth figure from the second example with passing tones [Example 86].93 Nothing else appears in the first part, with the exception o f the fourth and eighth measures, which are but slightly altered, as are the third and fourth measures in the second part.

93 Kirnberger describes a figure as “a succession o f . . . tones, w hich belong to the same harmony, and in place o f which

one could have taken a single tone, if one had wanted to sing more sim ply” (Sulzer, “ Figur. (M usik.),” Allgemeine

Theorie, vol. I (177 1) , p. 385). This description corroborates Daube’s method o f inventing figures from the tones o f one

chord w ith optional non-chord tones. T urk, like Kirnberger, explains that figures are “ notes . . . joined together in

various ways, or short embellishments o f a simple tone. . . . A melody, in w hich similar embellishments o f simple

tones occur, is called a figurated m elody and is contrasted w ith the plainsong m elody w ithout embellishment

(sim ple).” H e also speaks o f some figures having names, such as the half circle (Halbzirkel), and sim ilarly describes

“ ornaments” (Martierert) as “ those embellishments w hich are used in place o f simple tones” (Klavierschule, (1789),

PP- 235» 387-8, Eng. trans., pp. 229, 380). See n. 86.

Variation 141

This variation [Example 93] has been taken from the thirty-first [recta thirtieth] and thirty-eighth figures [of Example 85]. They can also be brought closer together, if one wishes.

In the second part, both figures appear within a single measure. Unless they were to become thirty-second notes, these figures cannot very well be imitated in the third measure, because the third and first chords each occur twice. For variety, both figures have been set an octave higher from the fifth measure on.

[148] This variation [Example 94] is derived from the twenty-seventh and forty-seventh figures [of Example 85]. The same combining of two figures can take place here, as it did in the preceding example. They may occur in either order.

Ex. 95 Fourth Variation


The twentieth and forty-third figures in the second example [Example 86] characterize this variation [Example 95]. The first two measures incorporate passing tones, while the others consist o f appoggiaturas and chord tones.

Ex. 96 Fifth Variation

Even more figures are combined in this variation [Example 96]. The first two measures are derived from the first figure of the first example [Example 85]. The next measure closely resembles the fourth figure [of Example 85], and the fifth [149] measure resembles the forty-fifth figure [of Example 86], The beginning of the second part has been taken from the thirty-third figure [of Example 86].

Ex. 97 Sixth Variation

This variation [Example 97] is based on the forty-ninth and seventeenth figures [of Example 86]. In this manner one can write as many variations as one might wish. Everyone can draw up some figures of his own and compose his variations from them according to these instructions. Also, for variety, they can be composed of long single or double tones which are sustained throughout etc. I f such variations are written for the keyboard, the bass may also contest with the upper voice and alternately sound the rapid passages [Example 98].

Ex. 98 Seventh Variation

m

•0- p j -\m m

Variation 143

This example has been assembled from the twenty-fifth, twenty-ninth, fifty-first, and forty-ninth figures [of Example 86]. The bass makes a short imitation, which could have been lengthened if desired. The harpsichord is very suitable for presenting many variations in the bass.

We now believe that we have given sufficient instruction on varying a short aria or menuet. A t the very beginning we mentioned that the art of variation also could be of assistance in the invention and improvement of the melody. H ow often does it happen that in sketching a melody, one part of it is not pleasing? But if one knows the rules of variation, one can quickly remedy this part of the melody, provided that the symmetry is good, or that the entire melody has been properly divided beforehand, that is to say, the motives and figures at least consist of an equal number of measures. Where have some Italian singers learned the beautiful, melodic, ornamental passages (Klauseln) which they introduce everywhere, and by which they are so distinguished? Certainly, nowhere but from the variation [technique] of a great master. H ow often in the Andante [Example 91] do we hear just the one figure comprising the first half of the second measure, which is borrowed from them? W hat is it, other than a simple ascending third embellished with appoggiaturas?94

It is certainly true that all the music which has been brought into the world until now, and which will ever be composed in the future, is inseparable from the art of variation. Hence, it is inexhaustible and no number is capable of defining its value. We maintain that anyone who has mastered the simple harmonic procedure of alternating the chords according to our instruction in the thorough-bass method, and has gone through this treatise repeatedly and modeled many test-pieces on it, will neither want for the invention of a melody, and good division and continuation of the same, nor have difficulty providing it with a good harmony, and one which is melodious as well.

94 The correspondence between improvised ornamentation o f the mid-eighteenth century and the written variation o f

c. 1773 may be seen by com paring the present chapter w ith Q uantz’s “ O f Extempore Variations on Simple Intervals”

( Versuch (1752), pp. 6 0 -9 1, Eng. trans., pp. 136-61). Q uantz’s instructions are directed toward performance, Daube’s

toward com position, yet the similarities strongly suggest that the elaboration added by the performer in 1752 m ight

have been included by the composer in 1773. The Figuren which Daube lists in each chord include some w hich might

be considered w ritten-out ornaments (especially turns and tiratas), and he once refers to them as Manieren, and once as

Klauseln. (Com pare T urk in n. 93.) M om igny, analyzing the difference between variation and ornamentation, points

out that the former generally follows a consistent pattern, w hile the latter is characterized by flexibility and capricious

changes (Cours complet, (1803-06), vol. II, p. 614). The substantive effect o f Daube’s variations may be attributed in

part to the regularity and repetition w ith which the figures are laid out.

8

IMITATION

[151] Imitation has to do with artificial composition. In the discussion of two-part composition we already have demonstrated how one voice could imitate the other, and this has also been done with regard to the second type of three-part writing. The instruction on composition in four, five, and more parts likewise demonstrates its value. Imitation is indispensable in music. Nothing good in either melody or harmony can be accomplished without it. From imitation flows natural beauty. It unites art with nature. One can conveniently divide it into two classes. The first concerns only the initial or main melody o f a single voice, and how this should be worked out in a piece by means of imitation.95 This is not to be spoken of here, however. The second class shows how to arrange the harmony so as to give rise to various imitations which are carried out by a few motives of either the main melody or the inner voices. The present discussion will characterize this class.

Imitation which occurs throughout the harmony is likewise divided into two types, the first of which consists of similar [i.e., real] imitation. This takes place when a motif from the main melody is either repeated with the same tones in an inner part, or imitated in another key. This type concerns artificial pieces, especially canons and fugues. The other type results when a melodic m otif is imitated rather dissimilarly [i.e., tonally],

but yet so that the key may not modulate. This little dissimilarity is produced when not all of the intervals are imitated as precisely as possible.

Here one especially must make certain to choose instruments capable of imitation. Likewise, the motives or figures to be imitated must be selected in accordance with the nature of the instruments. For [152] example, a figure from the main melody would be suitable for imitation by the second voice, and probably by the viola, but not by the bass,

95 In 1722 Ram eau scarcely differentiates between imitation and repetition, com m enting that “ fugue is distinguished

from im itation in that the latter may occur only in a single part. . . .” “ Imitation . . . consists only o f the repetition,

at w ill and in any part we like, o f a certain passage o f melody, w ith no other regularity. . . . [and] in any transposition

whatsoever” (Traite, (1722), pp. 163, 332, Eng. trans., pp. 179, 349). In 1753, however, M arpurg explicitly distinguishes

between repetition, transposition, and im itation, the latter signifying “ the restatement o f a subject through repetition

or transposition in different parts. . . .” Further, “ the alternating use o f one subject in various parts may occur not

only at the unison but at all other intervals” (Abhandlung, vol. I (1753), pp. 1 - 2 , Eng. trans. in Mann, Fugue, pp. 142,

143). J . A . P. Schulz, like Daube, includes both inter- and intra-voice techniques in his comprehensive definition o f

imitation, and points out the difference between free and strict imitation (Sulzer, “ Nachahmungen. (M usik.),”

Allgemeine Theorie, vol. II (1774), p. 798). Kirnberger also includes both techniques, calling imitation “ the observa

tion o f the sim ilarity o f the elaboration,” a definition w hich points up the fact that the notes being imitated usually

are figures elaborated from a basic progression in w hat Schulz terms “ figural pieces.” Moreover, his free imitations,

w hich require only a sim ilarity o f shape and rhythm, bear a strong resemblance to Daube’s variation figures in the

three chords (Kunst, vol. I (1771), pp. 203-04 , Eng. trans, pp. 2 17-18 ). Koch, w ritin g in 1802, seems to have dropped

the older application o f the term “ imitation” to a single-melody technique, although he still speaks o f the decorative

value o f imitation in free-style works (“ Nachahm ung,” Lexicon, (1802), cols. 1029-30).

144

Imitation 145

that is, in the lower tones of this voice. Here one must give special consideration to the peculiarity of the tones. The low tones are the basis of the harmony. The entire musical structure rests on them, as it were, and therefore its movement should be fairly steady, but also lively according to the character of the piece. But [for the bass] to imitate hopping, playful, and gay passages of the main melody, and to give its foundation to the upper voice in exchange, is against the nature of the music and greatly hinders its effectiveness. However, we are speaking only of the low bass register, and not o f the high tones o f a violoncello or bassoon.

Ex. 99 A Few Examples of These Two Types

[153] This imitation [in Example 99] is the most strict, since the second voice contrives it, not only in all the intervals, but even in the same tones. A piece in which one voice exactly imitates the melody o f the other from beginning to end is called a canon. The value o f imitation is greater, however, if only one m otif from a melody is imitated. In doing this, the composer still has the freedom to continue his melody spontaneously, which is not the case with the former, since the continuation o f the piece relies on the most strict imitation in the second voice from beginning to end. W ith two like instruments one must take care to contrive the melodic m otif in such a way that it may be repeated by means of imitation, or so that the melodic line is not hindered even if one voice ascends above the other, as at the beginning here. The melody of the first four measures really sounds thus [Example 100]:

Ex. 100


Here the high tones of both voices are combined into one voice. In a piece comprised o f two concerting voices, one does not perceive the melody as played separately by each voice, but rather from the upper tones that are heard. Therefore the main melody can be disturbed by another, accompanying voice ascending above it, which does occur quite often in the scores of capable men. However, if two like instruments are to concert together, it is always better for the melody to be arranged so that it is compatible with its repetition in the other voice. And this melody distributed between two voices, when taken as a whole, nevertheless constitutes one interdependent melodic line, as shown here by the second melodic m otif from the fifth measure on.

However, i f the instruments are unlike, so that one is tuned an octave lower, as a violoncello and a violin, for example, it is not necessary to follow these instructions. The violoncello may imitate the violin and ascend above it into the violin clef as often as desired. This w ill not interfere with the main melody at all because the violoncello moves an octave lower, as does also the viola da gamba, the lute, the bassoon, and the horn, etc. In combining unlike [154] instruments, one nevertheless must also direct one’s attention toward the distance of the intervals between the two instruments, provided that the harmony is to have an effect equal to that of the melody - a matter heeded by very few composers, but which is particularly necessary if the music is to be effective. This observation pertains to imitation above all. Thus the inner parts also are included. Only the bass, in so far as it does not imitate, is excepted. Let us set down another example of two unlike instruments here, so that an amateur might be able to remember these comments better [Example 101].

Ex. 101

, r \ t f f r * f f f f

j j - — j j ^ = 3 = = * =

The beginning is again set up by imitation. For the entrance o f the second voice, the first voice moves down a fifth, which would have severely impeded the continuation of the melody with two like instruments. But in this case the descent is not at all detrimental, since the bass is a whole octave lower than the upper voice. Thus the two

Imitation H I

voices begin close together in the second measure, but the bass nevertheless is still a fourth lower. The imitation ends in the fifth measure. From there on the bass proceeds as usual, and can be just as low as the instrument permits. The bass melody must merely be good and flowing, and at the same time be compatible with the imitative motif.

[155] Strict imitation can also be arranged in another key. This is beautiful if the imitation o f a melodic m otif occurs as if it came about unintentionally. But even here it is to be remembered that the melodic motives should fit together well and constitute a well-arranged whole, so that no voice interrupts the continuity of the melody in the other voice.

Ex. 102

Vivace

- t = i — 1m r c j , " r n £ r L £ £ j ‘ i £ m r P *

J +

— 0— 0- m l -

1— £ -------- 0 m J ----------------------- -------------- 1 p — *----------- " J J J ---------------------- 1

' y 1 r f f

This imitation [Example 102] first begins in the fourth measure, where it occurs in the first-related key, while the upper voice carries out its line without heeding the initial melody. We have already cited such examples here and there near the beginning, [while discussing] composition in three and more parts. This example can also be arranged so that the second voice commences with this same melody and the first voice then imitates the melody of its predecessor in the higher octave [Example 103].96

Ex. 103

Vivace

1 \i

I F 4 * L— r- ' a LJ -

96 E x . 103: double bar line at end o f m. 9 in the original.

Ex. 103 (c o tit.)


In the eighth measure a new m otif is introduced, which subsequently goes into C major, and then is repeated by the second voice at the same [pitch] while the accompanying voice acts partly as a bass and partly as a second voice.97 Toward the end another figure appears which likewise is imitated by the second voice at the same [pitch]. The [157] entire piece is organized so that each m otif may reasonably be heard twice, especially since the initial theme is imitated in the related key (and the other motives likewise in this same key), a change which is not displeasing.

This type o f imitation can also occur with two unlike instruments [Example 104].

Ex. 104

[Violin]

Bassoon

97 Q uantz, speaking o f duets, likewise says that even w ith tw o voices, there must always be a proper fundamental part,

either in one voice or the other (Seeks Duette fu r zwei Floten (c. 1760), vol. I, Preface).

Imitation 149

Ex. 104 (c o n t .)

The imitation begins already in the second measure, but it lasts only one measure, since the lower voice then continues as a thorough-bass until the actual imitation of the entire theme follows in the ninth measure. The imitation lasts five measures, whereupon [m. 14] the bass resumes its usual role. After the cadence in B-flat major [m. 16] a new m otif commences and is imitated at the fifth. This alternation of the violin and the bassoon continues until the end. Running passages are very good to introduce with two concerting instruments, especially when they alternately play long tones against [the passages].

The other type o f imitation is that in which the second voice is not obliged to imitate the intervals o f the first voice so strictly, and therefore does not modulate out of the key either. This type is found in both melody and harmony. The three chords form the basis for it. I f a melodic m otif occurs in the first chord, the other voice imitates it in the second or third chord [Example 105].


Ex. 105

The running passage commences on the fifth, E, and leaps down to the ending tone [i.e., tonic note], A , from where it ascends stepwise to the upper third, C-sharp, and again descends two thirds where it then must sustain the third o f the second chord. The second voice should imitate these leaps and steps. Consequently it begins on the fifth above D, then leaps down to D and climbs stepwise to the third. In short, it imitates all the leaps and steps of the first voice, but a dissimilarity results nevertheless. This occurs in ascending to the fourth [tone above the root o f the chord]. In the first voice this tone is D, the ordinary fourth in the key o f A major, but in ascending [four tones] in the second voice one finds G-sharp, which is an augmented fourth above D. I f this interval were to be the same as in the passage in the first voice, it would have to be G [natural], in which case the melody o f the second measure would no longer belong in the key of A major, but rather in the key o f D major. At the beginning o f the third measure there is a retarded tone, which occurs in order to prevent a similar descent in both voices. The imitation o f the running passage should now take place in the third chord. Therefore one must first investigate how to arrange the downward leap and stepwise ascent of this running passagework. N ow in this case it is best [for the line] to leap down to the root o f the third chord, because the downward leap was to the root in the first measure, and likewise in the second measure. W hat follows, with the ascent and final descent of two thirds, is like the foregoing, except that the seventh, which in the two previous measures was major, now suddenly becomes minor. The reason for this is the same as before. Here one is not concerned with E major, which includes D-sharp, but rather with the retention o f the initial key. Then, in accordance with the natural progression of the three chords, the ruling chord must appear, which likewise occurs here in the fourth measure. The second voice is retarded in keeping with the pattern established by the first voice. And since the downward leap has previously been made into the root o f each chord, the same must happen here. The retarded tone descends [160] to A , and then commences the stepwise ascent. Here once again a dissimilarity appears. Initially,

Imitation 151

in the first two measures, a downward leap of a fifth took place; in the third measure a descent o f a ninth had to occur. N ow the retarding tone descends only one tone before it commences the ascending running passagework, whereupon the two voices then come together for the cadence.

This imitation is a little more difficult to contrive than that of the previous examples. The continuity o f the key should not be broken, but rather the beginning and end should be made in the same key. The melody likewise must not be subjected to the slightest constraint, but must be arranged as if the two concerting voices constituted a single voice with regard to the upper melody. The dissimilar intervals must be placed so that they are hardly noticeable. We have shown and taught the entire art o f this imitation in the present examples. For further reinforcement let us draw up another example with two unlike instruments [Example 106].

Ex. 106

Vivace

|j*» r T r f f r r n 1 1 r Ij y


The arrangement of this example should be given special notice. The opening melodic m otif is already imitated in the second measure, while the upper voice harmonizes in thirds. In the third measure, however, it deviates from this and has a stepwise ascending passage which produces contrary motion. In the fifth measure the upper voice takes up just a portion o f the melodic motif, and that in a different [rhythmic] position, since it enters after an eighth rest, whereas at the beginning it commenced with the very first beat. This partial melodic m otif is then immediately imitated in the intervals o f the third and first chords. This imitation is repeated, and then the voices move in a parallel or joint progression to the eighth measure. From here on this short figure is introduced again, and is [162] imitated by the bass until the two voices quickly move together to the cadence a few measures later [m. 12]. Then the upper voice introduces a new running passage which is repeated a fifth lower by the bass while the upper voice sustains the third o f the second chord. This repetition, which alternates [between the two voices], is continued until the main cadence.

Such modification and dismemberment o f a melodic m otif are o f great assistance in the continuation of an entire melody, and create a very good effect when handled well. I f the melodic m otif is long, one can break it up several times and develop each part separately. A suitable portion can even be interpolated as a short solo or duo, if this m otif has been presented before in the entire context and with the full harmony. The main theme o f a symphony or a concerto may be contrived in such a way that the subsequent dismemberment could produce all kinds o f changes in the melody as well as the harmony, which may sometimes appear in two, three, and more parts. Much of beauty can be effected by the interspersion [of different textures], especially when this is accompanied by a definite alternation o f forte and piano. This style (Manier) thus provides a possible method by which one could dispense with the search for different ideas in [the process of] composing, and yet be able to arrange pleasing alternations of the melody and harmony which will increase the effectiveness o f the music. Indeed, if one were only to go through those pieces which have won general approval, one would surely find that their fame rests not on the diversity of many thoughts, but rather much more on a good arrangement o f a few melodic motives, and the way they are fragmented and used in the appropriate place.98

In discussing composition in three and more parts, we have shown that imitation could also occur with more voices. However we still want to add this brief consideration. If the imitation is distributed among three voices, they must be arranged in such a way that the continuity o f a good melodic line in the upper voice is not interrupted, and so that the third voice, for example the bass, would occur as if unintentionally. One must be able to hear it distinctly, but yet so that the upper voice is prominent also. An agreeable

98 In this early, perceptive description o f “ classic” m otivic fragmentation and development procedures, it is significant

that Daube mentions orchestral w ritin g - where motivic development was becoming a hallmark o f the style,

especially in the instrumental w orks o f Haydn. In 1773 this technique may still be seen to represent a Rococo dissolu

tion o f the long, imitative lines o f the older style, w hich, during this era, were freely broken into motivic fragments

before being worked out by various means.

Imitation 153

change may be provided by four wind instruments engaging in imitation among themselves. But this cannot very well occur except when the first imitation occurs a fifth lower or a fourth higher. The second pair o f instruments then repeats these two previously heard measures in the same key, or else contrives the imitation in another key. This concerting [163] works very well between two flutes and two oboes. Two horns may also play the imitation or repetition, if the melody is selected [with this in mind]. Let us give another short example o f both types [Example 107].

Ex. 107

Andante


[164] The imitation in this example occurs unexpectedly. The two sustained tones in the first and second voices provide an opportunity for the bass to sound a moving passage against it. The first voice imitates and changes it a little in the third measure. The melodic m otif o f the fifth measure is imitated by the second voice and then by the bass, but then is abandoned unexpectedly, and the regular accompaniment continued. Such short imitations are to be used in the church, opera, and chamber styles. They make an especially good impression if they do not last too long.

Ex. 108 Four-Part Example for Two Flutes and Two Oboes

Flutes

Oboes

15

Imitation 155

The first four measures [of Example 108] are based merely upon a division o f the melody, which is successfully accomplished by the alternation of instruments. The fifth measure contains a m otif which is imitated immediately at the beginning o f the sixth measure. The oboes also have a little imitation here. The first oboe takes the second half o f the melodic m otif and moves in sixths [with the flute] into the next measure where [the line] drops a third. These five tones are imitated at once by the second oboe. This imitation is not detrimental to the main melody, since it remains in the lower register only, and never ascends above the flutes. This imitative section comprises four measures, after which a change occurs [m. 9]: the first oboe takes over the melodic m otif from the flutes and the second oboe imitates it, while the flutes accompany with the partial melodic motif. But since the melody already is in the key o f C major at this point, it must return to either the key o f G major or E minor. In the second measure of the melodic m otif an F-sharp is heard, and in the next measure [m. 11] the second oboe has D-sharp, which then presses back into E minor. Then the two oboes have a sustained tone, which is interrupted immediately by the second flute and proceeds to the ruling chord in the following measure, where the first flute joins them. Then the two flutes move in thirds to the caesura (Einschnitt), while the first oboe proceeds an octave below [the second flute], and the second oboe sustains a tone.

Ex. 109 Four-Part Example for Two Horns and Two Bassoons

Horns

Bassoons

f e . , i g r g ip » - =

n

■- - P ”P—J- - P- -§ r 1 = <

r " i r f r

I f ■* — f - 1

N.r—- - - - - ± = g g - ; *

d|= „ =

f 1 flir-T- f - - m- rp -

w - - - - - - - - - - J J i r r f

11 r r f j i

'ir1

P t- 1 ^


Melodic motives for two horns are hard to find [Example 109]. The difficulty is that some tones are naturally lacking on this instrument. And although a way of supplying this deficiency through art is now known, this [remedy], after all, is feasible only for slow passages and sustained tones, and even then such a piece is not to be written for everyone. Therefore, it is certainly better to try to write these artificial tones only for exceptional masters [of the instrument].99 The entrance of the second horn occurs in the second measure, where it is given G in preference to the proper tone, B, so that at least no tone is missing. Meanwhile the bassoons sustain long tones until the third measure, where the first bassoon takes up the melodic m otif and the second bassoon imitates it. In the fifth measure the second horn and second bassoon sustain a tone while the other two instruments proceed in thirds. The next little motif, which is played by both bassoons, is then imitated at once by the horns.

Although this subject is one of the most important in the entire [study of] composition, and well deserves to be discussed still more, we nevertheless imagine that even the present discourse might already seem too long to the reader, and that it might be time to discontinue it, since a change would be pleasant here also. In the following chapters there w ill still be opportunities to mention whatever is necessary in this regard.

9

CANON[169] In the preceding discussion we spoke of the imitation of a musical motif. The present discussion has to do with the entire piece. The canon is a melody which has been contrived in such a way that the second voice might be able to enter at a chosen distance after the first, and to imitate most strictly all the previously heard tones o f this melody throughout the entire piece. W hen pieces of this kind have a spontaneous melody they are always worthy o f praise, but as soon as even the slightest constraint is evident, it is better that one choose the free style o f writing.

The canon is divided into many different classes, of which we want to point out the most important.100 The simplest type of all is that in which the second voice imitates

99 A lso see Daube’s discussion o f horn w riting, pp. 12 6 -7 . T he natural, valveless horn o f Daube’s time was limited to

the pitches o f the overtone series, w hich, in the m ellow middle register suitable for symphonic w riting, meant only

triadic pitches. T he gaps in the scale sometimes were filled in by “ stopping” (i.e., inserting the hand into the bell to

change the natural pitches). These “ artificial” tones sounded muffled and were often out o f tune unless played by

“ exceptional masters [o f the instrum ent].”

100 Daube’s list o f “ most im portant” types rivals those in the more academic treatises o f the time. It includes: (I) simple

canon for tw o voices (a) o f like range at the unison, (b) o f unlike range at the unison, (c) o f like range at other

intervals; (2) simple canon for three voices (a) o f like range at the unison, (b) o f two trebles and bass at the upper

fifth/low er fourth, (c) o f two, three, or four trebles and basses in double canon at the unison; (3) artificial canon for

Canon 157

all the tones o f the first voice, and the entire piece consists of only two voices. This type is very easy to construct. One writes down an initial melody of only one measure. After this one writes this measure in the second voice, and again invents a first voice to go with it. This in turn is written in the second voice, for which one again seeks out a harmonizing upper voice, which then once more is set in the second voice. One proceeds with the continuation o f the first voice and the repetition in the second voice in such a way for as long as desired. In doing this one merely makes certain that the melody of each measure is well fitted for the preceding measure. However, if this initial melody is sometimes to appear in the second voice as a first [or higher] voice also, the second measure in the proper first voice must be written lower than the initial melody, as often as this [procedure] w ill allow the melodic line to be continued naturally.

Ex. no Example of the Beginning of a Canon

The first two measures [of Example no] show how to begin. One should proceed in this manner until the end, always writing the measure set in the first voice, into the following measure of the second voice as well. Above this measure a new melody or accompanying voice must be set at once in the first voice. We see this accomplished in the fourth measure. The upper voice carries on the melody according to its role. The third step indicates that the imitation in the second voice may also be accompanied by lower tones in the upper voice.

The singing style which already has been praised so often in the preceding discussions is to be recommended for the artificial treatment of the canon. A piece in which art exists alone, without nature, is scarcely created for the ear. The canonic melody must be singable and flowing, or all art w ill be employed in vain. The three chords must form the basis for this as well as for other kinds of composition. But it is true that the more voices a canon has, the more likely it w ill be necessary to dispense with the succession of chords. There are many canons which are constructed of only the first and third chords. W hy? Because the fifth of the first chord is also present in the third chord. Therefore, if this tone remains stationary, the other voice can sound two different kinds of intervals against it. But if one wanted to write a canon based entirely on one chord, [171] the

tw o voices (a) in augmentation, (b) in dim inution, (c) in double augmentation (three voices), (d) in inverted

retrograde, (e) as a crab canon (retrograde), (f) w ith different clefs (two or four voices), (g) as a climax canon ascend

ing or descending; and (4) artificial canon for three or four voices (a) w ith different clefs, (b) in inverted retrograde

w ith different clefs, (c) as a crab canon w ith different clefs, (d) as a clim ax canon descending or ascending.

i58 The Musical Dilettante

first measure might simply be varied as often as possible, in the course of which sustained tones, rests, and rapid and moderately moving passages can appear. Anything is correct as long as it is a variation o f the first chord.101 In this way many measures are produced by means of variation, and just as many entrances of accompanying voices are present, which all can commence in turn at the beginning, and sing around in that way until they seek for a conclusion of their own liking. The ancients applied themselves to creating much with this device.

Ex. h i The Preceding Example Concluded

(*)$$ r if r nm

(b)

r$

In another manner

i f e i i

m

The first canon [in Example h i] consists of only four measures, and the first and third chords. The second canon, on the other hand, goes directly to the second chord in the second measure, and even to the minor seventh chord, which is repeated in the third measure also. This canon can only be played by two voices, whereas the first one can be played equally well by three voices. The reason is the same as that mentioned before. The second measure of the second canon originates in the first measure. In writing this, only intervals which are in the three chords and which harmonize with the first measure have been selected. The third measure is an accompaniment of the second, and the fourth stands in exactly the same relationship to the third measure. In the fifth measure the first voice is on top again. In the sixth measure the melody again ascends by leap above

101 See p. 135.

Canon 159

the fifth measure. The seventh measure is an accompanying part again, while the upper voice leads in the eighth measure. The da capo ensues, and there the first measure is now an accompanying part, since the last measure is also imitated by the second voice. The canon can be terminated at the beginning of any measure.

W hen a canon is finished it is not written in two voices, as here, but in only one voice, in which the entrance of the second voice is marked with a sign. However, if the canon is constructed in an overly artificial manner, the sign of the entrance of the second voice is not marked, so that those who want to rehearse or hear it have trouble guessing the proper entrance. These overly artificial pieces, however, frequently do not reward the effort of such a search, because nature very seldom plays a part in them, and therefore the melody is deficient and the effect of the music is lost.

This two-part type also permits the melody to modulate into other keys. This is done by writing a tone which also is found in a chord of a different key, but this must usually be the third chord of the other key [Example 112].

Ex. 112 Example of a Canon in which the Melody Modulates into Another Key

[174] The third measure of this canon already introduces F-sharp which, as is known, belongs in the key o f G major. A t the end of the fourth measure F reappears, which takes the melodic line back to C major. The seventh measure even brings in G-sharp, and provides the opportunity to go into A minor. This key lasts until the tenth measure, where G-sharp suddenly disappears and F-sharp appears instead, which again belongs in G major. The ruling chord likewise follows it immediately. In the twelfth measure the melody is in the initial key again, whereupon the repetition also takes place. This piece can end in the first measure. In modulating into other keys, as was mentioned before, one merely must concern oneself with that tone which is found in two different keys. In the third measure C remains stationary in the second voice, and thereby prepares for the key of G major, since this tone, C , is found in the third chord of G major as well. The second D in the seventh measure lends itself very well to modulation, since it is

i6o The Musical Dilettante

also present in the third chord of A minor. A and C from the ruling chord follow. The tenth measure demonstrates that since A and C also are found in the third chord of G major, one voice might very well sound F-sharp against them, which occasions the movement into G major. The method of returning to C major is commonly known. Therefore, whoever takes the trouble to invent a good melodic line of this kind will do well.

Since each measure is heard twice, one can easily imagine that the melodic line must be arranged accordingly, and must include some motives which may be heard twice, in alternation with others composed of accompanying passages. They have the best effect when one voice can be played an octave lower [Example 113].

Ex. 113 Canon in which the Bass Imitates the Upper Voice

Since, for the most part, the entire science of canon is based on the variation of the previous measure, it can be extremely useful to a prospective composer. But unnatural, anxious searching must be avoided. Instead, one should proceed according to the foregoing discussion, trying to vary a single measure as often as possible, without restricting oneself to the guiding principle of canon.

The two-part canon also may be handled in another way. The imitation can be contrived at the second, third, fourth, fifth, etc., either above or below. The process of construction is the same. The only difference is that the position of the half step cannot always be preserved in the imitation. A few examples w ill make this clearer [Example 114a-/].

Ex. 114

Canon 161


Ex. 114 (cont.)

[178] In the first example the second voice begins with the minor third, although the first voice began with the major third. The reason is that the key of D major contains C-sharp rather than C[-natural], Between the first and second measures of the first voice the interval D to E is a major second, whereas the second voice has a minor second. The same thing is to be observed in the second example also. In the third and fourth examples the intervals of both voices are alike. In the third example a C-sharp has had to occur in the second voice because the imitation commences in the nearest-related key, D major; it is also quite easy to effect the return. The fifth and sixth examples, on the other hand, do not contain this similarity [of the voices], since the half step in the second voice is not imitated, and vice versa.

Those canons in which the imitation occurs a second, third, etc. higher must always be arranged so that the second voice commences [Example 115a -f] . Then each measure in the upper voice is set higher at w ill, and an accompaniment or continuation of the canon is written for it again in the second voice. As has been said already, the principle of varying each measure applies similarly to every kind of canon.

Canon

Ex. 115

163

(a)

(b)

(c )

(d)


A ll o f these types are comprised of variation and are constructed in the manner which was described at the very beginning of this discussion. The half step which appears in one voice therefore must be treated freely in the other voice. The melody can seldom turn out as well as in the unbound style of writing. Yet, if a single characteristic figure with tones o f diverse time values can be introduced, it becomes tolerable. Brevity is especially to be favored here, and then one can use canons in the church, and also in the theater and chamber, where they are included as short solos within the melody o f a large piece. Two-part canons particularly should be kept in mind for this purpose.

[181] Regular three-part writing is helpful in the construction o f canons in three and more parts. One can use any short melody for them. As soon as the first voice reaches the end o f this short melody, it is begun by the second voice, and when it is concluded by the second voice, the bass, which concurs with these two voices, is written in the violin clef, and then the three-part canon is ready. The entrance marks then are set in each voice. To increase the clarity it is good if one voice forms a running bass when the other two voices enter.102

Ex. 116 Example of a Canon with Three Voices

|-----jrj---- - f ngr

r 1 = 1tor—I-----4v4—p J J = ^

0 a f t

- J - i----m*

f

+ 4 0 1

[m. 6, middle voice, the quarter note a ' is not dotted in the original]

102 A running bass is just one of Daube’s methods of increasing clarity. Others include scoring each of three parts for a different instrument p. 166, and the use of rests, pp. 16 7 ,175 , 183. Ex. 117: m. 6, lower voice, trill over e" in original.

Canon 165

Ex. 117

Ex. 118

Here the melody of the second voice is continued from the sign -r ; then DC

Allegretto


[184] The first canon [Example 116] involves a bass [-like part] only in the fourth measure, after which the melody quickly returns to the beginning again. In this canon the entrance [of the second voice] occurs immediately after the first measure. In the second canon [Example 117] the second voice enters after the second measure, and in the third canon [Example 118] it first enters after the fourth measure. W ith the entrance o f the third voice, this canon presents the bass part, which also is differentiated from the others by its rapid movement. A ll the types o f canon which have been described can be included between the rushing or brilliant passages in a large Allegro, with a violoncello or a viola playing the third part in a three-part canon. In this case canonic composition is still used to advantage, but otherwise not. If each o f the three parts is also played by a different instrument, the effect can be even better.

Another type o f three-part canonic composition is that in which the second voice commences a fifth higher or a fourth lower, whereas the third voice follows at the octave in the initial key [Example 119].

Ex. 119

U r - | | _1J i i i '11

[185] This type is even more useful than the preceding, but it also is slightly more difficult to construct. The little that one can say to facilitate this three-part composition is that one must try to avoid the major seventh above the root in the melody of the upper voice. But if one wanted to introduce it nevertheless, it might occur amid rapid tones, as if in passing. The reason is that if one wanted it to be sustained, it would have to be introduced in the second voice also, or the imitation would suffer very much, which certainly is to be avoided as far as possible. The entrance of the third voice also would be

Canon 167

made difficult. The melody must consist o f an alternation o f the first and third chords. The intervals of the second chord should appear only in passing. Short rests also can be interspersed. This canon, as those previous, is written on a single staff, and the entrances are marked by a sign. If it is to be a riddle canon, no entrance is marked, as we already have said above. One likewise does not indicate whether the second voice is to commence at the unison or at another interval. However, we can see no reason why our ancients tried so hard to conceal this art. However thoroughly one understands composition, one still must search through all o f the possible species o f a riddle canon until the entries etc. have been found. And then this effort is often poorly rewarded if the harmony and melody do not have a pleasant effect.

There is another pertinent type which may be sung or played by three, or even four voices.

i

W

D C

D C

This example [Example 120] can be played with the upper voice and the bass simultaneously; as a canon between two soprano voices or two bass voices alone; or even as a three- part piece with the incorporation o f the existing bass part, and then finally with four voices, namely two upper voices and two bass voices. The [process of] invention is quite similar to the foregoing.

Our intention here was not to carefully seek out the melody for all of these different types, but rather only to clarify them. Accordingly, in order to show the amateurs of composition as many kinds as possible, we now want to present the other artificial canons, which the ancients held in such great esteem that no one could pass for a master without knowing how to construct them. It is indeed true, that someone who knows how to write them correctly can also construct most fugues, for this [ability] proceeds from the knowledge o f canon.

The so-called augmentation canon is included among the artificial types. It consists o f the second voice imitating the melody of the first voice in tones which move twice as slowly. The diminution canon is the opposite.

i68

Ex. 121 Example of an Augmentation Canon


#=p- j f m J , j. 0 P

P

1 r m ■ 1 1 1-1 ■

d ------;------- t—m— ^p J .. 1 r ^

>j 1 j ' t *

D C

ll J J I ' J J U t j i

The intervals o f the first chord are the most essential ingredient o f such a canon [Example 121]. This canon is constructed in the same manner as the preceding ones, in that the first measure in the second voice is made to enter with notes twice as long, and then a new melody is continued above it in the first voice. The shorter such a canon is, the more useful it is also.103 Indeed, a melody o f only a single measure is good. A t the end the voices can be exchanged, as one sees here, if the first voice then takes over the augmented melody o f the canon. Such a canon may still be employed in a church piece, but a few other voices would have to accompany it and serve to complete the harmony here and there. Something o f value could be produced especially if such a canon were sung by two voices and supported by accompanying instruments. However, an appropriate text must be selected for it .104

The diminution canon is the opposite o f this [Example 122]. Perhaps we can please our readers by mentioning this remnant o f antiquity. Much time lavished on it in order to produce something good would be time poorly spent, since the design o f such pieces is too artificial and forced. However, in order to demonstrate that in which the ancients excelled, we want to present an example o f each species, and to indicate how it might be employed.

103 Daube considers brevity a virtue, because it permits the incorporation o f canonic passages into galant works, where it

provides another source o f variety.

104 Daube’s recommendation o f free, instrumental parts to accompany a two-voice, vocal augmentation canon is another

practical suggestion for the current use o f a strict-style technique. The instruments would provide a clarifying

backdrop from the canonic lines, and “ an appropriate text” w ould justify the fact that this canon is not as easily

perceived as some types. This concept recalls Daube’s Bewets, dafi die gottesdienstliche Musik (1782), in which he

advocates the use o f different texts to stimulate composers (tired o f setting the Mass text) to create appropriate,

expressive church music. See the Introduction, pp. 15 -16 .

Ex. 122 Example of a Diminution Canon

Canon 169

If, when the second voice ends, it exchanges with the first voice and takes up its part, the resulting alternation can lend itself to the concerting o f two voices. Here, too, one might be able to use a measure-long canon better than a longer one.105 The bass may present the second voice, as might occur in a solo, for example, but such a canon must not last long.

The ancients also created the canon in double augmentation. To the previously explained augmentation canon they added a voice in which the length o f the already extended tones o f the second voice was doubled [Example 123].

Ex. 123 Example of a Canon in Double Augmentation

105 The difference in rhythmic motion suggests concerting w ith tw o distinct motives, another way o f looking at brief

canonic passages - even o f this artificial type - as a resource for variety in the galant style. See nn. 10 2 ,10 3 . See Horsley,

Fugue p. 32.


This three-part type is comparable to the wheels of a clock, in which one wheel moves so slowly that another goes around twice while the former goes around only once. Another wheel moves so quickly that it goes around four times during this period.106 Anyone who perhaps wishes to imitate this type is advised to use only one chord from beginning to end, varying it until a tolerable melody is formed. The intervals not belonging in this chord must be omitted completely. Then it is ready. However, if one wanted to include another chord nevertheless, it would have to first appear at the end o f each measure, as was done here, where the tone G concludes the first measure. The usefulness o f this type is still unknown. It might be, then, that such a canon is merely a curiosity.107

[190] N ow we present another type, which is dedicated only to the friendship of two persons. This is the inverted retrograde canon, which is written in such a way that the person seated opposite sings the notes as they appear from his point o f view [Example 124].

Ex. 124 Example of an Inverted Retrograde Canon

Briefly, the construction o f this type consists o f writing a melody o f several measures. At the end, after the last note, one sets down a tone which will harmonize with this last note when the paper is turned around, namely, as it then w ill be viewed. And in this way one works backwards, one note after the other, to the beginning. Stationary tones and ties can be introduced here. However, one must arrange the melody so that no accidental sharp occurs in it, because, from the other point o f view, it would apply to an entirely different tone. One also can draw an even number o f bar lines and again divide

106 Daube’s analogy bespeaks the fascination w ith clockw ork held during this mechanically minded age - a fascination

evident in the popularity o f music boxes and musical clocks. Even Haydn w rote pieces for them. (See H ill, “ Haydn’s

Musical C locks.” ) It also recalls K irnberger’s analogy o f unity in art w ith the cogs and mechanical parts o f a clock

(Sulzer, “ Einheit. (Schone Kunste.),” Allgemetne Theorie, vol. I (177 1) , p. 302). See n. 41.

107 Daube apparently included this canon for the entertainment o f his readers. T he same can be said for the following

“ friendship” canons, the crab or retrograde canon, which “ serves only for amusement or novelty,” and the canon

in several different clefs, w hich m ight be used “ in intelligent society.” Kollmann says that canon “ affords a great

variety o f practice and amusement, by making us acquainted w ith combinations o f sounds, different from those in all

other sorts o f musical pieces” (Essay (1799), p. 56) - a comment that recalls Daube’s valuation o f canon for providing

textural variety. Canon was a traditional musical plaything, popular w ith the Viennese dilettantes for w hom Daube

was w riting. Professionals also enjoyed this diversion. M ozart wrote a number o f social canons (Neue Mozart-Ausgabe,

vol. I l l / 10 (1974)), and Haydn and Albrechtsberger exchanged canonic greetings (M ann, Fugue, pp. 260-62).

Even R iepel, w ho refers to canons as “ childish inventions and curiosities,” nevertheless gives his students tw o

“ friendship” canons in parting (Attfangsgriltide, vol. II (1755), pp. 129-30). See n. 110.

Canon

this same number into two parts on the staff. Then one begins to write the melody in the first measure, and the accompaniment for it in the last measure o f the second section upside down. Then the melody is continued into the second, third, fourth, etc. measure from the beginning, and immediately afterward the accompaniment o f each one likewise is continued into the second, third, fourth, etc. measure from the last measure on, counting backwards. One proceeds in this manner until the end which, in this case, means the middle.

N ow when the piece is finished, one checks to see that the whole melody is there when the paper is turned around, because, since one must always set the accompaniment o f each measure upside down in the same measure back from the end, a mistake in writing can be made very easily.

Ex. 125 Another such Example

4 ^ r r r n r p i.iO m i j j r i n r f r i

The minor keys are not as easy to use for this as the major keys, unless the major seventh were avoided. Am ong the major keys, A major is particularly good, because its third represents the root or the octave when the page is turned around [Example 125].

W hen such a canon is filled with all kinds of alternating passages, and consists chiefly o f the singing and brilliant styles, it can very well be used as a duet. In doing this one has all freedom to write in any key and to combine the melody with the harmony as desired, but one must proceed according to the foregoing instruction that when the entire piece is complete, one should set down in the following measure a note which, when viewed upside down, harmonizes with the last note, and continue to write in this way until the end. An equally artificial type is the so-called crab canon of the ancients, in which the second voice commences at the end, and proceeds backwards to the beginning [Example 126].

Ex. 126 Example of a Crab Canon


[192] This type is constructed like the foregoing, except that the notes are not viewed upside down. One writes down a melody and then additionally blocks out on the staff the same number o f measures as it contains. After this the note which harmonizes with the first tone is put in the last measure. In fact, since that note begins the canon, it must be the harmonic interval which will end it. In this way also the second, third, and fourth notes from the last note are written down to go with the second, third, and fourth notes from the beginning. And by this means one proceeds steadily to the middle of the entire piece.

This retrograde harmonizing voice also can be constructed by setting down an accompanying tone immediately next to the last tone o f the melody which was written first. One holds this last tone, so to speak, with the forefinger o f the left hand, moving it back continually, tone by tone, while the accompanying voice is written forward, until one finally has arrived at the beginning o f the piece.

The third way consists o f setting the second voice under the written melody in accordance with the instructions for composition, as [in Example 127].

Ex. 127 Another Example

■Jthh J T r A -r ~t i U - J 1 1 h f J J T T I 1 n 1 J i Jf 11 * J F r

bar 8

1 \ " w k

7 6

j j » j j j * j *

5 4 3 2

[ S d .....*■

1

+ 9 J.JJ [J J 1 J—

This example really is composed o f only four measures, to which a second voice has been set. The second voice subsequently has been written backwards, [193] so that the fourth measure o f the second voice has become the fifth measure o f the first voice; and then the third has become the sixth, the second has become the seventh, and finally the first measure o f the second voice has become the eighth measure o f the first voice.

One can say that the construction o f this kind o f canon is as easy nowadays as it was difficult for the ancients, since any melody, however artificial, is suitable for that purpose, provided only that one follows the instructions given here. Its effect can be good, even though it serves only for amusement or novelty. Here one is compelled only to try to arrange the rapid passages so that they are equally melodic both forward and backward, that is to say, that they contain no awkward leaps. This rule pertains to every melodic line. The descent o f a diminished fifth, and the leap o f an augmented fourth, etc. are included among these intervals.

Another artificial type is that in which a canon for two different voices, for example, soprano and bass, is written so that each voice reads the notes according to its own clef as indicated at the beginning [Example 128].

Canon 173

Ex. 128 Example of a Canon with Two Clefs

Allegro

The soprano begins. The bass rests three measures and a quarter, whereupon it also commences, playing the notes according to its clef. The end is determined arbitrarily. To construct such a canon [194] one writes a melody o f optional length, and then determines with which second clef these same notes might be used, and especially whether this new key is adaptable to the initial key. The second voice is constructed for it in the manner originally described, namely, by using simple harmony and variation, which also has been illustrated in the above example, where the second voice proceeds a fourth lower or a fifth higher. If the melody were arranged so that the bass could be played an octave higher, one might very easily construct four voices in this manner, the third and fourth o f which would move an octave lower than the first and second voices [Example 129].

Ex. 129 This Example Distributed among Four Voices

Allegro 5

m m err Jrt/fw

w

174

Ex. 129 (cont.)


Canon 175

[198] W ith the entrance o f the third and fourth voices, a separate melody is given to the two upper voices, but one which at least is interrupted now and then by short rests, so that the canon is heard distinctly. In this way such a canon can be put to good use. And although it is basically only two-part, the variation produced by the low voices, along with the melody written above it does, after all, make a four-part score, which can well produce a good effect, depending on the main melody.

The so-called climax canon also should be included here. In this type, when one voice reaches the end, it begins to repeat the same canon a tone higher, while the second voice still continues in the initial key [Example 130].

Ex. 130 Example of a Climax Canon

J A U . _____— _____________________ ] . 1 _ 1 * 1 1

• 1 1

W f ‘0 " J r

. --- v

0 ti— — 0 T"

[199] The construction o f this kind o f canon is based on the following [premises]. It is known that the first voice begins alone in all canons, and that the measures which it plays alone initially must be accompanied during the repetition. The clue lies in this accompaniment. It must be arranged so as to harmonize eventually with the preceding two measures o f the [same] upper voice and also with the entrance o f the transposed initial theme. This canon has eight measures. The repetition o f the seventh and eighth measures108 forms an accompaniment which is contrived so that it also must agree with the following transposed initial theme. A beginner may well be advised to set the last two measures o f such a canon, with both the initial theme and the accompaniment, below one another, in order to see at once which harmony is possible [Example 131].

Ex. 131

m “ fifth and sixth measures” in the original: correct only i f counting from repetition marks.


Here one sees that the first measure o f the first voice harmonizes with the entrance o f the key o f A major, as well as with G major. The E makes a fifth with the A , and a sixth with the G. The following D in this case is an anticipation in A , and a proper harmony in G. The following D belongs in the third chord o f A major, just as in G major. The last A again is an anticipation o f the chord in the third measure o f the transposed repetition o f the beginning, and in G major it is the fifth o f the third chord. After such a canon has been constructed in two parts it is written in one part, and the entrance marked with a sign.

One proceeds in the same way in writing a canon in which the repetition occurs a tone lower [Example 132].

Ex. 132 Another Type with the Same Name

If such a canon is long, short modulations into different keys can also occur, just as in the example given at the very beginning. But one must not modulate at the close, because it would be detrimental afterwards, at the entrance o f the transposed repetition o f the theme.

N ow we come to three-part artificial canons. These are written with three kinds of clefs. W hen each voice enters it performs the notes as they are read according to its own clef. To make this more clear, we want to give an example in three voices [Example 133].

Ex. 133 Example of a Canon with Three ClefsVivace

Canon 177

This canon appears to be artificial, but the process o f construction is easily identified. It consists o f writing an initial melody o f one measure, as here for example, then transferring it into the second voice and, after this entrance, into the third voice, as if all three voices were meant to commence in succession at the unison. After this one sets the clef of each voice in the signature and then arranges the accompaniment accordingly. This is the way such a canon is constructed.

A ll clefs are not to be used here. The choice must be made according to the nature of the initial theme and the entrance o f each voice. For example, if the bass, the tenor, or a higher voice were to begin, different clefs would likewise be required for the accompanying voices, or else the entire harmony would certainly cause considerable difficulties. Here we have employed the violin and piano clefs, along with the bass clef. The two soprano clefs are separated by a third, whereas the bass clef constitutes a sixth when calculated from the violin clef. Equally important is which voice begins. The alternation o f the sixth, third, and octave determines most o f the harmony in this canon. Here the violin clef begins, the piano clef answers, and the bass clef follows. One cannot concern oneself so carefully here with the succession o f the three chords, nor with the thoroughbass and the complete harmony. The bass enters with a six-four accompaniment which results from the inversion o f the third chord in G major. This canon, when reduced into one voice, looks like this [Example 134]:

Ex. 134

Allegro i

Now, although both entrance signs are there, it is certainly rather difficult for a person inexperienced in this work to solve, since one does not yet know which voice is to begin first. The following example [Example 135] is written in three other clefs.

Ex. 135

Here the soprano appears first, followed by the alto and then the tenor. Such kinds are to be used in intelligent society,109 but even there they must also contain a good melody, without which all musical art amounts to nothing. Indeed, all types o f canons

109 See n. 107 . In the fo llow ing four-voice examples, E xx . 136 -7 , the clefs are arranged according to the order o f entrance;

in the follow ing example “ o f this type,” E x . 138, however, the order o f clefs was exactly reversed from Daube’s instruc

tions for resolution and no rest is indicated at the end in the original. Perhaps these were misprints, perhaps inten*

tional enigmas to be solved by “ intelligent society.” Com pare n. 112 .


furnish strong evidence that harmony may be used in many different ways by means of the art o f variation.

Experience teaches that four voices could also be arranged in this way. The procedure is the same. One must find a very short melodic motif, which is made to enter repeatedly with the very same notes, and then, as was said before, one writes the clefs in the signature, and then arranges the accompanying voices so that they harmonize in all four clefs during the repetition. One w ill understand this canon easily if one already knows the preceding types, but here one must take care to introduce more sustained tones. This canon, reduced into one voice, appears thus [Example 136]:

Ex. 136

[203] To please the amateurs, we also want to write out this example in the usual four parts [Example 137].

Ex. 137

Canon 179

[204] We have just indicated how this type o f four-part canon should be constructed. Here we want to reveal another device o f art. One should construct a short melody, the first half o f which consists o f intervals from the ruling chord and contains no leaps other than those in the chord. Should other tones occur, however, they must appear in passing. The second part o f the first half can be a long tone, as here, or else this tone is repeated, during which a second above or below it also may very well appear as a passing tone. The second half o f this short melody also must consist o f slowly moving intervals from the third chord. These tones must be long in order that the main entrance o f each voice might be heard more clearly. The entire preceding example is arranged as prescribed here, and consequently every amateur can easily comprehend both theory and practice, which might be very difficult to learn in any other way.

Ex. 138 Another Canon of This Type

In this canon [Example 138] the bass begins, followed by the tenor, the alto, and finally the soprano. At the end every voice rests for one measure before starting again from the beginning. The ending o f a canon is always left to the discretion o f the performers.

From such monuments o f antiquity one sees how hard they strove to increase the greatness o f art in those days. These artificial types o f canons, fugues, etc. were already in vogue 200 years ago.

In another artificial species o f four-part canons, the second pair o f voices inverts the melody o f the first pair. We have given an example o f this type above, but with only two voices sung by two persons sitting opposite one another, each o f whom sings the notes as they appear from his point o f view. The present canon consists o f four voices. A further difference is that the persons who sit opposite us must sing the notes from the right to the [205] left hand, that is, at the correct starting point. The clefs for it are the soprano, alto, tenor, and bass clefs, o f which, the soprano begins, and the other three voices follow one at a time. This example appears here as it should look with its actual four-part harmony, but not as it is written in a single voice [Example 139].

Ex. 139 Example of a Four-Part Canon in which Two Persons Sing the Notes Inverted


Ex. 139 (com.)

[206] In the process o f construction one writes down a single measure o f a melody and then places this same melody on another staff, but in the second measure, whereupon one sets the optional clefs in the signature and turns the page around. Then the notes as they appear in this position are written on the other two empty staves (now returned to an upright position), in such a way that the voices always enter a measure apart. After this an accompanying voice, which must harmonize with the entrance o f the three voices, is added for the continuation o f the initial melody. This accompanying voice, however, should be arranged so that subsequently, even when the paper is turned around, it would come out so that it harmonizes precisely with the repetition o f the initial melody. Then, when the empty measures are filled and the canon has been completed in this manner, it is written in one voice and the entrance signs are added [Example 140].

Whoever wants to solve such a musical riddle must be patient in trying out all of the types, and still many people w ill not find the solution. It is rarely used. Yet, if words were written underneath, there might be an occasion to use it among good friends.110

This next canon [Example 141] also deserves to be included in the artificial class because it, like the preceding one, is written on only one staff, even though it has four parts. In this canon two voices enter consecutively at the beginning, and two voices enter consecutively at the end and proceed backwards. We already have cited a similar type above, which differs from this one in that it is two-part and has but one kind o f clef. The two- part type already was known to the ancients by the name crab canon. But we cannot really say whether the four-part type also was known to them.

110 M ost social canons contained words, messages, or greetings. See n. 107.

Canon 181

Ex. 141 Example of a Four-Part Crab Canon

£

m

In this canon two voices, the soprano and tenor, enter one after the other at the beginning. The other two voices, on the contrary, begin at the end and sing backward, after the alto rests two measures and the bass rests three measures. N ow when these voices have reached the beginning, they then take up the proper initial melody, while the first two voices are obliged to sing backwards. The full score given here shows that i f one wanted to compose such a canon, it would first have to be written in the usual voices. W hat one necessarily must know about composing it is to make very few leaps, to avoid the major seventh o f the key, and to include sustained tones. The three chords certainly do appear in it, but their complete harmony cannot always be heard, and since each voice carries the melody, no particular voice acts as the fundamental or bass part, unless one wanted to construct an additional part especially for this purpose. For this reason it very often happens that a fourth and sixth occur above the bass. Still, we want to explain how the chords follow one another in this example. The first chord begins. The second and third chords appear in the second measure. The third measure again contains the harmony o f the ruling chord. The fourth measure has the second chord. Then the first chord follows in contrary motion and in this way the chords alternate among one another.


[209] The canon analyzed here is fairly unknown. It, as all the preceding ones, arises from the [principle of] variation. After it has been written in four voices and constructed without mistakes, it is reduced into one voice in the customary manner, which really is the correct way to represent it [Example 142].

Ex. 142

This canon also might be difficult to solve. The following kind is different again. Each voice enters a tone lower at the repetition. The soprano begins and the alto comes in a measure later. After this the tenor enters and then the bass. As soon as the soprano reaches the end, it repeats the melody a tone lower, and the other voices imitate it in this way. Eventually the conclusion is made in whichever key one chooses. It still remains to be said o f this canon that, although it is written on only one staff and all the clefs are indicated, nevertheless the two lower voices, the tenor and bass, must sing the notes a tone lower than indicated by their clefs, so that the octave o f the two upper voices will be maintained. The following score shows this [Example 143].

Ex. 143 Another Type of Artificial Canon

Allegro

Canon

[211] This canon is still useful. It can be used in the church and chamber. The alto enters a fifth lower, which gives it a rather fugue-like character. Even more freedom may be allowed here,111 but contrary motion must be observed carefully and the ending of each voice must be arranged so as to accommodate the change o f key. The melody also may be interspersed w ith short rests, as seen here, which are especially useful for insuring that the initial melody may be heard distinctly, even when it enters in the second voice. Such canons can be arranged in different ways. It is not necessary that the soprano always commence and the alto follow. The [entrance positions o f the] voices may be exchanged here, just as in the regular fugue. W hen this canon has been arranged in four parts and is completely finished, it is written on one staff, as were the preceding ones [Example 144].

Ex. 144

The following canon does the opposite [Examples 145-6]. The four voices move one tone higher at the end, when the repetition occurs. Here the tenor takes the lead and the alto follows a fourth higher. Then comes the soprano which enters an octave higher than the tenor, while the bass follows an octave lower than the alto. Each voice enters a measure later than its predecessor. Both this canon and the preceding one have already been described above under the name of climax canon, where two-part examples have been given.

Ex. 145 Another Type of Artificial Canon Written Out in Four Voices

111 See pp. 186 and 186-7 .


Ex. 145 (c o n t .)

Ex. 146 As-it is Actually Written

In constructing these two types, one also should remember to employ more long than short notes, and to try to avoid leaps as much as possible. Since every canon of this type is written on only one staff, all four voices must also have the half steps which are introduced by the leading voice. For example, the tenor begins, and has [E to] F in the second measure. This half step is imitated accordingly in the alto part, which therefore must go to B-flat instead o f B-natural. The construction o f these two types generally requires that the fourth, fifth, or sixth measure o f the melody be arranged so that it could later harmonize with the entrance o f the [214] second voice (which is a fifth lower or a fourth higher) in such a way that the voice which is repeated first also may begin a tone higher or lower.

In the first example one sees that the fifth measure, when transposed down a fifth (which is where the alto and bass enter), contains the harmony which the soprano needs in order to institute the repetition a tone lower. The second example demonstrates that the fourth measure, transposed down a fifth, is adapted so that the voice which first repeats could re-enter a tone higher. The suggestions given before are recommended here also.

Now, in concluding this discussion, we want to cite two more four-part canons which are constructed in the same way as those already explained as climax canons [Examples 147-8]. The first consists o f two voices moving up a tone when the repetition occurs. [In both examples], however, the alto and tenor do not sing the notes according to their clefs, but rather must transpose them, the alto a tone higher, and the tenor a tone lower. A t the end they repeat the melody a tone higher, in the same way as the other two

Canon 185

principal voices, and so it continues as often as the repetition occurs. In the second canon, on the other hand, the repetition is instituted a tone lower. To save space, we want to show it only as it is written in one voice.

Ex. 147 Another Canon of the Climax Type, in which, at the End, Two Voices Repeat theBeginning a Tone Higher

r r r 1 r c im i

Ex. 148 Another, in which, at the End, Two Voices Begin Again a Tone Lower

[215] The voices enter in the same manner in both examples. The tenor follows the soprano at the octave after a rest o f two measures. The alto has four measures o f rest, whereas the bass has six. In the first example the alto enters a fourth lower, and in the second example [also a fourth]112 lower [than the soprano]. This type o f canon closely resembles the foregoing examples. Whoever is well experienced in counterpoint at the twelfth, may be able to imitate this unusual type easily despite the difficulties. The rules pertaining to the construction are the same as for the foregoing types.

We now have discussed most canons and taught their construction. We hope that every amateur who has talent and patience w ill be able to imitate them very soon. The canons which appear here, as all the examples in this treatise on composition, are intended more as a basis for the instruction and clear explanation o f this knowledge than for [the illustration of] a good melody. If an amateur, even at the beginning, should simply vary the canons sketched here, and write them down according to their proper chords, he would certainly notice that in doing so he would come to know the entrances o f every voice, the alternation o f the few chords, and the style of the melody. Indeed, everything is to

112 E x x . 14 7 -8 : the clefs were not in order o f entrance; they read soprano, alto, tenor, bass in the original. Ex. 148: m. 8

appeared to be a breve rest (or possibly a half rest above a whole rest) w ith a “ 2” above in the original. This does not

w ork out. T he text “ [also a fourth]” originally read *'a fifth.” T his conflicts with the transposition instructions in

the preceding paragraph and w ith the bass voice in this canon. The alto and bass must be in octaves in this canon

involving “ Two Voices.”


be gained by this. One w ill see that variation is the basis o f melody, just as harmony is the basis o f variation,113 and also discover that one may profit greatly from the study of canon. After careful consideration we have taken up the discussions o f variation and canon consecutively, because one proceeds from the other. The following explanation o f fugues and double counterpoints, etc. is also based entirely on them. Most fugues are even easier to write than canons, because more freedom is allowed, with which the melody can likewise be further extended.

1 0

SIMPLE FUGUE

The discussion o f imitation provides the basis for the construction o f fugues. Just as we have said in the foregoing pages, that variation is the basis o f melody, which arises from it, so we can say here that when a melodic m otif is invented, the art o f imitation teaches how it [216] might be repeated. A piece in which such a repetition [i.e., answer] is instituted, continued, and carried out to the conclusion according to certain rules is called a fugue.114

The main characteristic o f a fugue should be that the initial theme is melodic and animated, and that the secondary motives fit together well with the main m otif or initial theme, so that it would seem as if it were a single voice proceeding from beginning to end.115 Even if the upper voice does rest now and then, the melodic line still must be arranged so that there might be a continuity between the main theme in the low register and the upper voice which just ceased, and likewise when it joins in again. In the treatise on musical style we intend to tell how this might be achieved.116

If a fugue has these characteristics, it can be called excellent, and accordingly can be used everywhere. W hat are all our good current pieces - symphonies, opera arias, concertos, etc. - other than unbound or approximate fugues?117 This means, above all, the imitation o f one or two main motives. A regular fugue requires a far greater restriction,

113 This statement sums up Daube’s treatment o f variation as central to his reconciliation o f the free and strict styles.

See the Introduction, pp. 25-6 .

114 Com pare K irnberger’s similar preliminary definition in Sulzer, “ Fuge. (M usik.),” Allgemeine Theorie, vol. I (1771),

p. 407.

115 Even in fugue, Daube merged the homophonic preference o f his era w ith the older, strict-style techniques. Com pare

p. 231 and pp. 255-6 . T he “ repeated theme,” however, should be “ clearly perceived” (p. 204).

116 i.e., Vol. I ll o f Daube’s Dilettant series, planned but apparently not carried out. See the Introduction, pp. 11—15.

117 Com pare K irnberger: “ Today composers also write purely instrumental fugues. Actually all pieces w ith several

concerting voices, be they duos, trios, or quartets, fall into the fugal [category], because the voices always must imitate

one another, provided a true melodic unity is to be maintained. O nly in this case the imitations are not carried out as

strictly as in fugue proper. B ut whoever wants to construct such pieces must necessarily have experience in fugal

com position” (Sulzer, “ Fuge. (M usik.),” Allgemeine Theorie, vol. I (177 1) , p. 410).

Simple fugue 187

but nevertheless it should certainly be worked out with greater freedom even today, since we are not lacking in melody.118 Let us endeavor to give some instruction in this.

The initial fugue theme which one constructs is o f an optional length. If we should state our thoughts on the standard, we would prefer the middle path between brevity and great length.119 In a brevity o f several notes no good melody can be produced and the much too frequent repetition cannot have a pleasant effect. Length forfeits clarity when an overly long theme occurs in the bass or tenor while the upper voice is sounding another melody because it may not rest that long.

The imitation [i.e., answer] is instituted in the key in which the initial theme closes. But it does happen sometimes that not all the intervals o f the initial theme can occur in the repetition, and therefore an amateur must mainly know which intervals may be altered in such a case. They are the whole steps in every key. But the half steps [217] must be retained unaltered throughout.120 In this rule, therefore, lies the only clue, which is easy in itself, but causes many people difficulties.

W ith an initial theme which commences and closes on the ending tone [i.e., tonic note], the repetition imitates the entire theme, either at the unison or at the octave. If it happens, on the other hand, that the initial theme commences on the fifth o f the key and closes on the ending tone, the repetition, o f course, must begin on this tone, but it must finish in the first-related key, because this new ending tone bears the greatest resemblance to the first tone o f the initial theme. Here one must take care that the half steps in both keys are heard as immovable. The accompanying example will show this clearly [Example 149].

118 Theorists often distinguished between regular or proper fugues, constructed according to certain rules, and irregular

or improper fugues, which departed from the rules. Rameau was the first to formulate rules which deal systematically

w ith both the beginning and ending o f thematic entrances (Traite (1722), pp. 332 -7 ; Eng. trans., pp. 349-53).

From M arpurg onwards, the regular fugue included, in addition to the correct form o f subject and answer and their

proper order in the exposition, good countermelodies and episodes (Abhattdluttg, vol. I (1753), pp. 17 -18 , Eng. trans.

in M ann, Fugue, pp. 155-6 ). Scheibe considered irregular fugue the middle step between free imitation - short frag

ments o f melody imitated w ithin a piece o f any type - and the formal regular fugue (Der Crttische Musicus (1739),

pp. 4 51-3). Also see M ann, Fugue, pp. 50 -5 1 and Horsley, Fugue, pp. 122 , 289.

m Com pare Ram eau, Traite (1722), p. 338, Eng. trans., p. 355; M arpurg, Abhattdluttg, vol. I (1753), pp. 27-8 , Eng. trans.

in M ann, Fugue, pp. 16 1-2 ; K irnberger, “ Fuhrer. (M usik),” in Sulzer, Allgemeirte Theorte. vol. I (177 1) , p. 410 ;

Kollm ann, Essay (1799), p. 31. Com pare Padre M artini’ s use o f soggettoy andamettto, and attacco to designate medium-

length (one-and-a-half to three measures), longer, and shorter subjects (Esemplare, vol. II (1775), pp. v iii-ix ).

120 Daube never speaks o f transposing the subject up or down a fourth or fifth to find the proper half steps for the “ repeti

tion” [answer], but suggests thinking o f the 3-4 and 7-8 half steps o f the subject as specific chord members and half

steps in the corresponding key. (H e discusses only major-key fugue themes.) Thus Daube seems to view tones o f a sub

ject - especially first and last tones and those which form half steps - as chord members in a certain key. T he chord

membership o f the last tone partly determines whether the im itation (answer) may begin in the third chord (dominant

level) or the second chord (subdominant level). See the next three paragraphs and p. 196. Since the second and third

chords appear to be o f nearly equal importance in Daube’s harmonic system, it is consistent for dominant and

subdominant level “ imitations” (answers) to be considered nearly equally legitimate. T his chordal, functional orienta

tion may explain the apparent contradiction between Daube’s strongly tonal, half-step, key-oriented approach on the

one hand, and his frequent allowance o f the modal-referent, subdominant answer on the other.


Ex. 149 Example of a Four-Part Fugue

10

$

p mW

Ex. 149 (cont.)

Simple fugue 189

35

40


Ex. 149 (c o n t.)

$ m50

mm

m m m

In the second measure the initial theme already has the half step F-sharp, which is the third o f the ruling chord in D major. Therefore, this third also must be present in the imitation, and since this must occur in the related key o f A major, one immediately discerns the reason why the first downward leap o f a third from A to F-sharp in the initial theme does not take place in the following related key o f A major, but rather becomes a second in the imitation [mm. 7-8]. The imitation must begin in the key in which the initial theme closes, but the next tone is already adjusted to its key and proper conclusion. Here the second violin begins with D, in order to agree with the conclusion o f the first

Simple fugue

voice. The second note, or second measure, is already transposed, since the remainder of the initial theme is set in the key o f A major. The same thing occurs in the second repetition [i.e., third entry, m. 16]; the first tone enters on the unison A , whereas the second tone already is readjusted to the original key.

But when the initial theme commences on the octave o f its ending tone and closes in the next-related key, no change occurs at the beginning o f the repetition, but does near the end. In this case the repetition must return to the initial key. [225] Thus, one puts the half step which belongs in this next-related key in the same place in which the half step appears in the initial theme, and then the preceding or succeeding whole tones are very easily adjusted accordingly.

Ex. 150 Another Example of a Fugue

# f w J I Ip r Jr r =1=^ f f f i

Ip K ----------------p i - --------------- - p . = 1=r f — »— # ftp—

r r a r f n Jr cm

m

1» ■ I f t i 1 J t] J£


Ex. 150 (cont.)

Here [in Example 150] one sees that the new key o f D major returns to G major in exactly the same place where the key o f G major changed, for C-sharp [m. 2] is the major seventh in D major, and F-sharp [m. 4] is the major seventh in G major. The same situation exists here as in the previous example. The second measure o f the initial theme contains two thirds in the melody - the first is B and G, the second is G and B - the first of which is retained in the repetition, while only the latter had to be changed to a second. W hy? It was a third without the half step and consequently this could be done more conveniently. So we see here again, that the half step in both types must be observed very precisely. If this is not done, the repetition w ill very seldom be without mistakes. The three types described here are called regular fugue subjects.

N ow there are also several types o f fugue which can be called irregular. These do not begin on the octave or the fifth o f the key, but rather on another degree. Here again the previous explanation applies: when a fugue theme begins on the second o f the key and concludes in the same key, the repetition also begins on the second o f the new key and, near the end, again adjusts the half step to end in that key.

The theme [in Example 151] begins on the second above the ending tone. Thus, the repetition is likewise instituted on this same interval o f the next-related key. One sees that the repetition also occurs completely unaltered in the new key, because the rest at the beginning makes it possible to start with A after the C , especially since this tone [229] also is in the second chord in G major, which does have a considerable similarity to the ruling chord in C major.121 The ending tone in the ninth measure provides an opportunity for the theme to be heard anew in the initial key.

121 Rests were custom arily recommended before a re-entry, in order, as M arpurg puts it, “ to state the theme again w ith

renewed freshness” (Abhattdluttg, vol. I (1753), pp. 128-9 , Eng. trans. in Mann, Fugue, p. 185). According to Padre

M artini, “ the great masters made it a carefully observed rule that . . . a rest . . . had to be followed immediately w ith

an entrance o f the theme . . .” (Esemplare, vol. II (1775), p. 33, Eng. trans. in Mann, Fugue, p. 274). See also Fux,

Gradus (1725), Ger. trans., M izler (1742), p. 125, Eng. trans. in M ann, Fugue, p. 83; and M attheson, Capellmeister

(I739)» vol. I ll , p. 435, Eng. trans., p. 798. Compare, pp. 196 and 198. See also pp. 204, 206, and 243, and n. 49.

Ex. 151 A Fugue Theme which Begins on the Second of the Key

Simple fugue 193

Allegro

However, if the initial theme is intended to end in the next-related key, the melody nevertheless must contain an accurate indication o f the key in which the entire fugue is to be concluded.122 The repetition, of course, is begun in the new key, but it is readjusted at once according to the old key, in order to sound a close there also [Example 152].123

122 Com pare, p. 235, rule 6.

123 In this case Daube’s answer is exact, but occurs at the subdominant level (upper fourth or lower fifth), thereby outlin

ing the basic fifth o f the tonic key (i.e., 2-5 answered by 5 - 1 o f the key). Com pare M arpurg, w ho says that i f the

subject (Fiihrer) begins w ith 2 in the tonic, the reply (Gefiihrte) may begin w ith the dominant itself or 2 in the

dominant (i.e., 5 or 6 o f the key), depending upon which makes the better melody or the closest likeness to the subject

(,Abhattdluttg, vol. I (1753), pp. 53-4 ; see Horsley, Fugue, p. loo). T he subdominant answer - either at the subdominant

level or in the subdominant key - though more prevalent in the preceding era, was not as rare in eighteenth-century

practice as some theory texts w ould seem to indicate, nor did all such answers simply represent lingering modal tradi

tions. Nalden states that a subdominant answer frequently is used w hen a subject begins on the dominant, and is

necessarily answered tonally (i.e., at the subdominant level), and the “ subject’s melodic line does not present opportu

nity for subsequent adjustm ent.” Subdominant answers also frequently are used “ when it is necessary to redress tonal

balance.” In a French overture . . . for instance, when the first section ends in the dominant, the follow ing fugue


Ex. 152 Another Type

AUegr

n r LTr

This repetition likewise has no change o f intervals. The rest makes it possible for the initial theme to be repeated. If a fugue theme commences on the third and ends in the next-related key, [230] the repetition likewise begins on the third o f the new key in which the theme ended.124 Toward the end o f the repetition the intervals must be adjusted according to the half step o f the initial key [Example 153].125

often “ sets out in that key, and a subdominant . . . [level] answer is given in order to achieve a tonal balance between

the tw o main tonalities o f the piece, tonic and dominant” (Fugal Answer, pp. 9 8-112). Seen in this light, Daube’s accep

tance o f subdominant answers, liberal by comparison w ith other theorists, may be seen as a reflection o f valid com

positional practices not often recorded in theoretical treatises, and reinterpreted in the context o f his three-chord

harmonic system.

124 Daube does not discuss the solution for a non-m odulating fugue theme which begins on the third o f the key, perhaps

because if the final tone o f the subject were the tonic, it would not be found in the same chord as the first one o f the

answer. B ut the fact that Daube treats a theme beginning on the mediant at all is interesting historically. W hile Fux

maintained that “ the voices o f a fugue cannot start at intervals other than those that constitute a mode, that is, inter

vals other than the unison, octave, and fifth” (Gradus (1725), Ger. trans., Mizler, (1742), p. 124 , Eng. trans. in Mann,

Fugue, p. 81), Ram eau expressed the opinion that the fugue subject should begin and end “ only on the tonic note, its

dom inant, or its mediant” (Traite (1722), p. 337, Eng. trans., p. 353). M arpurg was the first theorist to treat the

form ulation o f answers to subjects beginning on all degrees o f the scale (Abhandlung, vol. I (1753), pp. 31-56),

by which time the effect o f the m ajor-minor key system is becoming visible. Thus, w hile Daube’s classification of

subjects which begin on the third degree as “ irregular” may at first come across as m ildly reminiscent o f the older

modal tradition, his inclusion o f subjects which begin and end on all scale degrees is in keeping w ith the more

progressive stream of theory and practice.

125 W hereas Daube adjusts the answer to the original key near the end (i.e., 3-5 modulating subject answered by 7 - 1 at

the dominant level), M arpurg says that for a non-m odulating subject beginning on 3 , the answer w ill start w ith 3 in

the dom inant, but if the subject moves to the dominant, 2 in the dominant w ill usually answer 3 in the subject

(Abhandlung, vol. I (1753), p. 4 7 ; see Horsley, Fugue, p. 98). M arpurg recommends 3 -1 answered by 7 -5 (non

modulating) or 3-5 answered by 6 - 1 (m odulating), thus contriving the answer to the non-modulating subject at the

dom inant, and to the m odulating subject at the subdominant level throughout. Rameau also provides a choice in

answering the third degree. But since French theorists o f the time analyze all fugue themes as non-modulating,

he explains it in terms o f chords: “ Either the sixth or seventh note should . . . answer the mediant . . . . B y observing

w hat follows rather than w hat precedes and by conform ing to one another those chords found above the bass used for

the melodies answering in fugue, we shall usually avoid mistakes” (Traite (1722), p. 337, Eng. trans., p. 353; see also

Horsley, Fugue, p. 92).

Simple fugue 195

Ex. 153 A Fugue Theme which Begins on the Third of the Key

Allegro

[231] This theme lasts only to the beginning o f the third measure. The following E already is directed toward the new key o f A major, o f which it is the fifth. Thus, the repetition does not continue beyond the first A o f the sixth measure. The second A already is regarded as the fifth o f the initial key. An initial theme always must be considered in this way, and the repetition adjusted accordingly, something which seems difficult to many able composers using another method, but which becomes very easy through a clear explanation. W hen the fugue subject commences on the fourth, it preferably ends on the root, on which the repetition begins [Example i 5 4 < j - £ > ] . 1 2 6

126 N ote the alia breve in E x. 1546. Throughout the treatise, even in examples o f canon, fugue, and double counterpoint,

Daube avoids the “ proper” alia breve meter associated w ith the strict style, perhaps because it was considered

old-fashioned. Petri says that this meter is “ grandfatherly” (altvaterisch), and today is used “ merely in fugues, and is

played as rapidly as a faster 4/4 meter (.Anleitung (2/1782), p. 144). R iepel, however, comments that com mon time

sounds “ livelier” than alia breve (Anfangsgriinde, vol. II (1755), p. 87), which w ould account for the increasing popular

ity o f the form er am ong those o f progressive taste. Scheibe mentions that alia breve belongs in the stately old church

style, but says that it also occurs in galant chamber and orchestral music (Composition, p. 203). However, the “ old-

fashioned,” strict-style association o f alia breve meter was fading gradually into history. Schubart wrote that “alia breve

is equally suited to the church and to the secular style” (Ideen (1806), p. 357).

(b) Another

in „ - r 1 r f = F = # = i --------------!- - - 1— |— j- j- - jrcr' 1 i r 1 1 ' 1A lla breve

. f l - M J J 1J J J J 1

Neither repetition tolerates any alteration o f its intervals. The rest facilitates the entrance o f the third voice. If one wanted to arrange the repetition in the key o f F, this also would be feasible (Juglich) [Example 155].

Ex. 155 The Previous Fugue Theme, but with the Repetition in F Major

U ■ r.. t r lf UJ 1 I 1 ]=f=i—1 1

The second note o f the initial theme is the third o f the ruling chord in C major, and the third note is the half step in this key. The same [half step] must appear in the repetition also. The second note must be the third o f the first chord in F major, and the third note must be the half step which belongs in this key. This is the reason why there must

Simple fugue 197

be a descending third at the beginning o f the repetition.127 W hen a theme commenceson the sixth o f a key and closes on the root, the repetition once again must be institutedon the sixth o f the new key, and conclude in that key [Example 156].

Ex. 156 Another Type which Commences on the Sixth of the Key

The repetition could also be transposed to F in this example. But if this were to happen, the half step in the first measure, namely F, the fourth o f C major, would have to be observed in the imitation also, and the fourth o f F, namely B-flat, then would be put in that position. The preceding passage could be arranged accordingly. It would be best if the half step F in the repetition were introduced again in the place where the half step C is located at the beginning. If this is done, the second, A to B, with which it commences must be changed to the third, C to E, in the repetition. After this the repetition may continue and finish in F. If one would like to write a fugue which is to commence on the seventh [Example 157]:

Ex. 157 Fugue Theme which Commences on the Seventh of the Key

127 In E xx . 154a and b, the subject moves from 4 to I (tonic) and the answer from I to 5, givin g the effect o f m oving to

the dominant key. In E x. 155 the subject moves from 4 to I and the answer from 1 to 4, the visual effect being I

(subject)-IV (answer), whereas retrospectively the aural effect is I-V (subject)-I (answer), yielding a modulating

subject beginning in, as well as on, F. Dom inant and subdominant alternatives also are allowed for answering a subject

beginning on 6. (See E x . 156 and the follow ing text.) However, in these cases the aural effect corresponds w ith the

visual: I-V and I-IV . (See also n. 123.) M arpurg, by contrast, states unequivocally that fugue subjects which start on

the fourth and sixth degrees o f the scale are answered by the fourth and sixth degrees, respectively, in the dominant

(,Abhandlung, vol. I (1753), P- 52; see Horsley, Fugue, p. 98).


Ex. 157 ( c o n t .)

4t rj 1 1 i - j - ............r r J • fl f | J £ 0 m *

The imitation permits no modification o f the intervals, even if the repetition is arranged a tone lower. On the other hand, if this theme were not to conclude in the same key, but rather in the next-related key, a slight modification would then have to take place in the repetition. Here it is [Example 158].128

Ex. 158

t*= W J J J ^ I *i r r r r ?=*=f

If the imitation is to be adjusted according to the intervals o f the key, it must commence with the seventh, F-sharp and, because it is to return to C again, the A which appears in the sixth measure must remain stationary so that in the seventh measure it will become the sixth in C , just as the E in the third measure o f the initial theme is the sixth o f G. The rest justifies the entrance o f the repetition here also, which is correct in itself, but the last tone, G, in the upper voice may not be sustained.

128 For a non-m odulating theme commencing on the seventh degree, Daube again permits either a dominant or sub

dominant answer (i.e., 7 - 1 answered by #4-5, or 7 - 1 answered by 3-4). See n. 127 . I f the theme modulates, however,

it is adjusted to return to the original key near the end. Com pare M arpurg, w ho states that if 7 is treated as the leading

tone to the tonic in a non-m odulating subject, it must be answered by the leading tone to the dominant (i.e., 7 - 1

answered by #4-5), but, under other circumstances, an answer o f 6 in the dominant (i.e., 3 in the tonic) to 7 in the

tonic is more appropriate (i.e., 7 - 1 answered by 3-5), w ith an adjustment after the 3-4 , as in Daube’s subdominant

version (Abhandlung, vol. I (1753), pp- 54-6 ; see Horsley, Fugue, pp. 98-9). Both, however, think in terms o f the

answer being a parallel o f the subject in the dominant key and refer to the seventh scale degree as the third o f the

dominant key (M arpurg) or the third o f the “ third [dominant] chord” (Daube).

Simple fugue 199

[235] This discussion o f fugue subjects which are called irregular on account o f their beginning, w ill now be followed by a discussion o f fugue subjects which can be called irregular on account o f their conclusion. We still want to touch briefly upon this species. The first type o f these subjects reasonably includes those which end on the second o f the key. The chord for this second note is the third chord, as is easily understood, and therefore the repetition also is initiated in this key [Example 159].129

Ex. 159 Example of a Fugue Theme which Ends on the Second of the Key

> 1 4 - i J - 4 - ......^ —m —1— 1---- ------ t m tfp r r r Jr1 T

--------------------1--------------------- i—- J J J rJ J

The melody begins on the ending tone and closes on the second. Here we mean only the close o f the initial theme. The imitation occurs in the third chord, to which the last note, A , belongs. Therefore, since the second voice also ends on the second o f the new key, the third voice can very conveniently repeat the initial theme at the octave above or below, since G is also present in the third chord o f D major.

However, if the initial theme commences on the fifth o f the key, and still closes on the second, one cannot do other than to initiate the repetition at the octave, [a procedure] which, however, occurs particularly at the beginning. In the middle, and at the termination o f such a fugue, the entrance o f the second voice, or the repetition in general, may occur at other intervals [Example i6oa-c].130

Ex. 160 Another Type

(a)s' A u 1

A t the beginning o f a fug

[ t * t. - = 1

ue

----------------------------- )--------1—1---- 1-------:-------------------------------- 1— j j — j — ^ — ■4-------------4— - J

129 M ost o f Daube’s answers to subjects which conclude on 2, 4, or 7 entail imitation at the dominant level. N ote that

Daube puts the scale degree o f the final note o f the theme into a chordal context to determine the possibilities for the

beginning o f the “ repetition” (answer).

130 T his liberty suggests the attacco subject o f Padre M artini, which could enter at any pitch interval in relation to the

preceding entrance (Esemplare, vol. II (1775), pp. v iii- ix ; see Horsley, Fugue, p. 136). See n. 119.


Ex. i 6 cxj- i: (cont.)

From this example one sees that in constructing a fugue, the repetition is arranged quite exactly at the beginning, to be sure, but a change might very well be permitted during the course [of the fugue], and even more readily at the conclusion, as we subsequently w ill demonstrate further [Example i6id-i>].

Ex. 161 Fugue Theme with the Close on the Fourth

(k) Another

Simple fugue 201

The first example proceeds from the root to the fourth. Therefore, since the latter is to be found in the harmony o f the third chord in G major also, the repetition may very easily be instituted on the root o f this chord, but with a slight modification, [namely,] that this tone would remain stationary in the second measure and not ascend a tone higher, as it did in the initial theme. The reason is that no other key appears here and the tone E would fit much better in the related key o f D major. However, even if the E were not changed, the harmony certainly could be arranged so that the conclusion would occur in G major.131 The second example begins on the fifth and ends on the fourth. From there, the second voice also enters on the fifth o f the next-related key, but returns to the original key again. W hen the initial theme ends on the third, it must do so in the imita-tion also, whether it ends in the original or next-related

Ex. 162 Another Type which Concludes on the

r r r r f r i f r r fr-t-ffflr-fr t m

key [Examples 162-3].132

Third of the Next Key

I . I . ! 1 1 I I11 f L —=*----1------ -------- 1----1------!----UJ:------(—

- t - -

1 1 * 8 ' * 1

-------------------- - t ------------------------------------- -II gD f~t~ 1■ r r r

Ex. 163 Fugue Theme which Ends on the Third of the Same Key

Vivace

The first example begins on the ending tone and proceeds to the third o f the first chord in the next [-related] key. Here the imitation enters on the root o f this new key, but in the second measure the third tone already is changed and oriented toward the initial key. [239] The third tone, F-sharp, in the second measure o f the initial theme, belongs in the

131 Even though the fourth degree also belongs to the “ second chord,” Daube uses it here as the seventh o f the “ third

chord,” thus instituting the “ repetition” (answer) at the dominant level. T he effect o f delaying the sixth degree in

m . 2 o f the “ repetition” is to emphasize the dominant and de-emphasize the subdominant harmony. Com pare nn. 133

and 134.

132 Since Daube stresses the position o f the half steps in contriving the answer, the third degree, as a member o f the 3-4

half-step interval, must be preserved. Com pare pp. 19 6 -7 .


harmony o f the first chord in D major, as well as in the second chord in A major, and therefore the third tone in the second measure o f the repetition likewise may be included in the harmony o f the second chord in D major.

The second example begins on the fifth and goes to the third o f the first chord. Here the imitation, o f course, begins on the root o f this chord, but immediately adjusts the remainder so that it could end on the third o f the first chord in the next-related key.

Another type concludes on the sixth o f the key, and the repetition must do likewise [i.e., end on the sixth o f the next-related key; Example 164].

Ex. 164 Fugue Theme which Ends on the Sixth of the Key

The conclusion occurs on the third o f the second chord, and therefore the repetition must also be arranged on the root o f this chord.133 Although no major seventh, the indication o f A major, is to be found in the initial theme, this tone nevertheless must appear in the repetition, whereby it then happens that the half step which occurs at the beginning o f the second measure o f the initial theme could not be used in the repetition, for otherwise G [-natural] would have had to appear here, which would have led into D major. This may well occur during the continuation o f such a theme, about in the middle [of the fugue], but at the beginning it is better to remain in the designated key as

m Because o f the chord membership o f the final note o f the subject, Daube’s answer (E x . 164) begins on the fourth,

rather than the fifth degree o f the key. A similar logic is followed for a subject which begins on the tonic and ends on

the seventh degree (E x . 165). Since 7 is “ the third o f the third chord in G major,” the “ repetition” (answer) begins on

the root o f this chord w hich, in this case, is the normal fifth-degree answer for the initial tonic note.

much as possible.134 Another irregular ending is that which occurs on the seventh [Example 165].135

Simple fugue 203

Ex. 165 Fugue Theme which Ends on the Seventh

The repetition conforms to the beginning. The fugue subject begins on the root and proceeds to the third o f the first chord in G major, where the repetition begins simultaneously on the root.134 In the seventh measure [241] the last tone, A , already is adjusted according to the following conclusion in C major. To our knowledge, these are all o f the types o f simple and irregular fugue subjects. We have intentionally selected simple examples. They are there only to give a clear concept. In writing a fugue, it is especially important to arrive at a good first imitation or repetition o f the main theme. Therefore, remember that a fugue subject which commences on the octave o f its key and closes in the next-related key, returns once again to the initial key during the imitation, in the same place where the original key was changed. And this usually happens on the second or third to last note. On the other hand, a theme which begins on the fifth and proceeds to the ending tone [i.e., tonic key] is altered near the beginning o f the repetition. We already have stated this rule at the beginning o f this chapter, but it is not superfluous to repeat it here.

134 Although the “ repetition” (answer) is instituted on (/"-natural, it is adjusted near the end to conclude on c"-sharp, the

sixth degree o f E major, the “ first-related” (dominant) key. The resulting answer is an unusual subdominant-dominant

hybrid. M arpurg states that if (the subject) ends on the second, fourth, or sixth o f the original key, the answer w ill

end on the second, fourth, or sixth o f the dominant key unless this is made impossible by the context (Abhandlung,

vol. 1 (1753), pp. 9 1-3 , Eng. trans. in M ann, Fugue, p. 167). Daube could have avoided both the violation o f his half

step rule and an intervallic adjustment by delaying the entrance o f the next voice w ith a short connecting passage to

a normal answer at the dominant level throughout. His reason for the complication - “ the conclusion [o f the subject]

occurs on the third o f the second chord, and therefore the repetition also must be arranged on the root o f this chord”

- again recalls that Daube’s harmonic orientation, even in the contrapuntal realm o f fugue, is essentially chordal rather

than intervallic.

135 E x. 165: m . 1, note I, en in the original.

136 See n. 133.


N ow we also want to mention a little something about the continuation o f a fugue. We have spoken above o f how the theme should be constituted. When the imitation is lower than the main beginning, an accompanying voice is written in the upper register, which is interrupted occasionally by rests so that the repeated theme might be clearly perceived. However, i f it happens that the repetition is higher than the beginning o f the fugue, the accompaniment accordingly must be written below this voice. Here it can carry on a good melody which is connected with the initial [theme], since this certainly will not be detrimental to the upper voice. We want to give a short example o f both, in order to show the amateurs the accompaniment o f a fugue as well [Examples 166-7].

Ex. 166 Example of a Three-Part Fugue

Allegro

Simple fugue

Ex. 166 (cont.)

205


Ex. 166 (cont.)

Ex. 167 Another Example of a Fugue Theme

ii r iy r j u j 1 j 9 i j j jrn ir-f

Both examples clearly show how the second voice should be arranged for the imitation o f the main theme. First [Example 166] one notices that whenever one voice continues, the other could have a short rest. One must always seek for an accompaniment to the repetition which does not impair the clarity o f the main melody, especially when the accompanying voice must occur in a higher register than the repetition o f the fugue subject. We see this in the continuation o f the first voice [in Example 166]. W hen the bass enters, this voice has an accompaniment which does not impair the clarity, even though it consists o f a rapid figure.137 Then, since the second voice imitates it with other tones, the first voice sounds a slow melody in the upper register. W hen the bass commences the theme anew, the first voice is given another running figure which is repeated by the other two voices. The alternation o f these figures is continued until the end. Shortly before the end, however, the three voices successively repeat the initial theme before it is completely presented again by the preceding voice [mm. 41, 43, and 45]. This eventual advancement

197 In both the free style and the strict, Daube recommends the achievement o f clarity through rests (nn. 49 and 121)

and rhythm ic differentiation (pp. 7 1 - 2 and 83).

Simple fugue 207

o f the entrances is an essential part o f fugue.138 In the second example [Example 167], the accompanying voice is arranged so that it presents, as it were, a continuation o f the initial theme. The short m otif in the first measure is repeated in the fifth and seventh measures, all o f which certainly does not detract from the upper voice, but rather heightens [its effect].

N ow at the conclusion o f the repeating subject [i.e., exposition] it is not necessary to sound the same melody again immediately. Instead, one tries to combine or vary the fugue subject with other passages. If a fugue begins with mostly slow tones, rapid passages can follow, and the reverse.139 The length o f this continuation may be similar to that o f the initial theme. But if the theme is short, it also can be twice as long. After this continuation [247] the fugue subject may then re-enter, specifically, in the next-related key. Here, once again, it is not necessary for the repetition to be instituted in the initial key; it can also occur at the octave or at another interval. After this, other rapid passages can be introduced again, which sometimes can be accompanied by the main theme, either in an inner voice or even in the bass. Here it may put in an appearance in various neighboring keys.140 If the fugue is to be long, this is the [end o f the first] half. Something unexpected, pleasant, or playful may certainly be incorporated into these rapid

199 Stretto, introduced as a new concept in fugal w ritin g by Reinken (Kompositionsregeln (1670, in manuscript), in

Sw eelinck’s Werken, vol. X , p. 53) and its placement near the end o f a fugal composition had been part o f a logical

tradition since 1673, w hen Bononcini stated that close entrances o f fugal parts should be avoided at the beginning o f

the com position and postponed to later portions where the listener w ill more readily understand a com plex texture o f

im itative voices (Musico prattico (1673), p. 86; see Horsley, Fugue, p. 164 and M ann, Fugue, p. 43). Fux and Mattheson

also recommend em ploying the stretto later in a fugue, although Fux and those influenced by him often contrived a

series o f ever-closer strettos beginning w ith the second exposition (Fux, Gradus (1725), Ger. trans., M izler (1742),

pp. 125 -6 , Eng. trans. in M ann, Fugue, p. 83; Mattheson, Capellmeister (1739), vol. I ll , pp. 382, 388, Eng. trans.,

pp. 720 , 728). Daube refers to this usage tw o paragraphs later. M any eighteenth-century stretto passages produce the

effect o f overlapping entries even though considerable freedom is taken w ith the imitation, and may, when the stretto

does not involve all the voices, be accompanied by a free part. See Horsley, Fugue, pp. 164, 327, 333.

w Daube also recommends contrasting moods, styles, dynamics, articulation, and amount o f dissonance between exposi

tions and episodes. See tw o paragraphs later and p. 2 12 . Also compare, n. 144. Daube’s view differs from that o f

Kim berger, w ho states that “ episodic passages must always be taken from the main subject” (Sulzer, “ Fuge.

(M usik .),” Allgemeitte Theorie, vol. I (177 1) , p. 408). M arpurg likewise finds galant contrasts out o f place in fugue.

Assum ing that the subject, at least, is in the “ learned” style (compare M arpurg in n. 141), he writes that “ episodes

should not contain . . . unusually large intervals, arpeggios . . . , extended runs, accompanimental or highly ornate

and florid figures, unison or octave progressions, or melodic lines in arioso style or in the style galant, none o f which

could easily be developed in all voices by transposition or imitation” (Abhandlung, vol. I (1753), p. 15 1, Eng. trans. in

M ann, Fugue, p. 202). A lthough Daube’s predilection for galant contrast represents a m inority opinion among

German theorists, his opinion reflects “ the fugue type cultivated in Vienna in the eighteenth [century] . . . , [which]

derived from the Italian tradition, especially from the teachings o f F u x ,” and consisted o f an alternation o f expositions

and episodes (Horsley, Fugue, p. 278). Padre M artini’s example for beginners contains an episode which serves partly

to accomplish a modulation, but also, he says, to avoid the tedium and annoyance o f continual statements o f the theme

(Esemplare, vol. II (1775), pp. xxx iv ff, x x x v ii; see Horsley, Fugue, p. 269). Later Italian theorists Galeazzi (Elementi,

vol. II (1796), pp. 232, 234) and M origi (Trattato [1807], pp. 19 -2 1) , suggest the possibility o f episodes between each

series o f entries, resulting in fugue in w hich, like Daube’s, the entrances o f the theme were relatively sparse and the

sections relatively clear. (See Horsley, Fugue, p. 270. See also Reicha, Composition, vol, II (1826), pp. 222-32 and com

pare Kirkendale on Reicha’s “fugue phrasee" in Fuge, pp. 231-3; Eng. trans., pp. 195-6.)

140 Although Daube, like his contemporary Padre M artini, recommends different, closely related keys for each exposition,

both dismiss the concept o f a set fugal structure or form w hich was ju st gaining prominence in the second half o f the

eighteenth century (Esemplare, vol. II (1775), pp. x x x iv -x x x x v ii and passim; see M ann, Fugue, p. 59). See also two

paragraphs later.


passages. Also, a general pause may well precede the entrance o f the fugue theme in the upper voice.

N ow the initial theme re-enters, perhaps in the second-related key. The repetition may occur at the fifth, namely in the next-related key. A short episode (Zwischenspiel) of two or four measures allows the fugue theme to enter once more, either in the initial key or that o f the related fifth. Here, however, one tries to arrange it so that the repetition could come sooner, especially when it is lower than the upper voice. In this case it does not matter whether the repetition is contrived at the octave, fifth, fourth, or even at another interval. If it can be advanced still further the second time without interfering with the main melody, it is all the better. Short running passages, repetitions o f short motives taken from the fugue subject, and likewise the appearance of the short playful passages, etc., all may be heard again before the final cadence.

After the fugue has been formally ended, one can still properly add a beautiful cadential passage, as is customary in symphonies etc. To state each and every thing about the complete construction of a fugue would be attempting too much, and would tend to set limitations where none is possible. However, one always can say that in a fugue, the principal aim should be an equal mixture of nature and art. The ear should hear something pleasant in addition to the artificial. The melody o f the fugue subject can be either lively and bright, or serious. If it is the former, the episodic passages must have something serious or pathetic about them. Or, if it is the latter, then they can be lively and bright. Ties, strong dissonances, etc. also might appear in moderation. Their number could counterbalance the consonant subjects. However, if one wants to use them frequently, one should beware o f [248] placing them very close together too often. Distance is better here. W hen the notes o f an interval such as the minor, major, and augmented second are adjacent, the effect is not as good as when they are rather far apart. The alternation o f forte and piano is to be recommended in the fugue also, and likewise the staccato and legato o f the tones.

A t this point, for the sake o f the beginners, let us write a fugue which embodies not the strict rules o f the ancients, but rather the freedom o f the moderns.141 Here it is [Example 168].142

141 A few “ freedoms” taken in this example are the “ lively and bright” subject, predominant treble, repeated-note

motives, varied m otivic development, pronounced contrast, free dissonance treatment, and free-voicing. N ot all the

orists were w illin g to admit both ' ‘serious” and “ lively and bright” fugue subjects, despite the great variety o f types

being written. W hile Mattheson finds that “ a natural, melodic quality . . . w ith its noble and singable simplicity,

generally yields the best fugues” (Capellmeister (1739), vol. I l l , p. 387, Eng. trans., p. 727 , and in M ann, Fugue,

p. 162), and Kirnberger, w ho mentions the same qualities (Sulzer, “ Fflhrer. (M usik.),” AUgemeitte Theorie, vol. I

( 177 1) , p. 410), also finds dance rhythms indispensable for good fugal melodies (Recueil d'airs de danse caracteristiques,

vol. I [1777 ], n.p.), M arpurg maintains that “ insofar as the melody is concerned, various lively figures and runs . . .

have no place in the fugue proper” (Abhandlung, vol. I (1753), p. 28, Eng. trans. in Mann, Fugue, p. 162). Compare

M arpurg in n. 139. Daube, o f course, was less interested in “ fugue proper” than in incorporating fugal imitation into

galant chamber music.

142 T his is the only example in the chapter w hich is not in open score. T he keyboard layout, however, is merely a space-

saving device. A lthough free-voicing frequently was used on keyboard instruments, Daube more probably had violin

double stops in mind; the orchestral idiom is suggested by his remark that “ the most pleasant, singing, or playful

figure, as the second figure here, may be given to the w ind instruments.” (See p. 212.)

Ex. 168 Example of a Fugue

210

Ex. 168 (cont.)


Simple fugue 211

This fugue theme consists of three measures,143 and from this length the entire fugue, with its different variations, has been constructed. The reason is that we have taken the figures which are found in this theme and subsequently used them for the continuation and connection of the various entrances of the fugue theme. The first measure contains two figures, which sometimes have been introduced separately. The second measure has only one figure which also is heard separately. The third measure likewise has one figure which is imitated alone here and there.144

N ow we have analyzed this theme and so it is still necessary to point out the places where each figure has been introduced. The repetition of the initial theme occurs on the ending tone. The bass follows, because the upper voice rests to permit the melody of the initial theme to be heard distinctly. A t the end of the fourth measure the upper voice comes in again and quotes the third figure in halved values. In the seventh measure the bass imitates the fourth figure, which is repeated by the upper voice. The eighth measure contains the third figure, at the end of which the bass repeats its first entrance [i.e., mm. 4-5], but this time with C-sharp. This episodic melody, or connection with the entire main theme, serves the melody as well as the harmony, since it then is imitated at once by the upper voice. N ow [m. 10] the initial theme appears in the bass and is accompanied by both the first and second voices. The bass does not carry this theme all the way to the end, but rather the upper voice unexpectedly takes up the conclusion, and connects it with the repetition of the main theme [m. 13], which it does not pursue once again here, but rather goes into a short running passage, while the bass, after stepping forward with its own initial theme, proceeds very simply. N ow [m. 15] the first part of the initial theme is heard again in the second voice at the fifth, that is, in D major, while the upper voice has the third figure. This first part is repeated in the bass, to the last tone o f which the upper voice takes the fourth figure and combines it with the third [mm. 17-18], while the bass states the fourth figure with a slight variation.

[252] N ow a deceptive cadence occurs unexpectedly [m. 20], and here the second figure is above the bass in an inner voice. This alternation of the upper voice with the bass takes place two more times, to which the inner voice finally adds the second figure [m. 23]. Then the entire [first] half o f the initial theme is repeated at the octave, while the upper voice sounds the third figure and, at the end, the fourth also, which then is imitated by the bass and repeated anew in the upper voice. N ow the initial theme appears in the bass [m. 26] and continues as far as the third figure. Above this is the bass entrance from

149 Daube’s subjects vary from tw o to six measures, nearly half being three measures long, an asymmetrical length usually

avoided in his examples o f free-style genres, Chapters 3-6 . Presumably Daube thought asymmetrical phrase lengths

appropriate to fugue, a genre o f “ our forefathers,” w ho had not yet discovered sym m etry as a principle o f nature (pp. 9 7-8).

144 A lthough o f moderate length, Daube’s subject suggests the andamertto o f Padre M artini, which incorporated several

musical ideas (Esemplare, vol. II (I775), pp. v iii-x ; see Horsley, Fugue, p. 136). See n. 119 . A lthough he also recom

mends contrasting episodes (see n. 139), Daube evidently considers m otivic development an important “ freedom o f the

m oderns” (p. 208), by w hich “ one can lengthen a fugue at w ill” (p. 212). This procedure suggests M arpurg’s “ strict

fugue,” w ith all thematic material derived from the subject and its counterpoints, as opposed to “ free fugue,” which

may include other thematic material (Abhandlung, vol. I (1753), pp. 19 -20 , Eng. trans., in M ann, Fugue, p. 156;

Kollm ann makes the same distinction (Essay (I799), p. 27). E x. 168: figure 3 in m. I, beat 4 in original.


the fourth measure which leads to the repetition of the initial theme presented by the two voices in succession [mm. 27-9]. Finally these two voices are brought together on the second figure, and proceed to the cadence [m. 32] which, however, is not done formally either, since B appears instead o f G .145 Here the first two figures re-enter in the high bass, while the upper voice sounds the third figure twice in succession, [a repetition] which occurs in the bass voice as well. After that, the melody moves quickly to the formal cadence and concludes.

We have analyzed and gone through this entire fugue so that the amateur might see that all the variations, combinations, and the entire continuation of the two voices consist merely of figures from the initial theme. Only brevity has prevented us from pointing out even more. Also, the chords remain in order, and a few retardations have been introduced here and there because they are appropriate to fugue.

Thus, a theme which contains different figures is especially important in the construction of such a fugue. N ow when these figures are introduced separately, as here, and each one is worked out, transposed, and extended (for which a few slight variations can also be helpful occasionally), one can lengthen a fugue at will. The serious figure is sometimes given to the bass while the upper voice sounds many running passages, which then can be extended further if the bass allows the serious figure to appear successively in different keys. The most pleasant, singing, or playful figure, as the second figure here, may be given to the wind instruments.146 If there is yet another figure which is suitable for concerting, as the second and fourth figures here, they can be distributed through all the voices and be presented in a concerting manner. From this one sees that a single [253] very short melody is all that would be required to construct a very long piece, and yet there can be enough variations of the melody. Our forefathers could hardly have been acquainted with this method of analysis, for otherwise they would not have made such an effort to lengthen a piece by means of double counterpoint and the canonic art, in which they gave so much instruction.

Nevertheless, there are also initial themes comprised of only one figure. These either are to be avoided, or else other figures must be added when it is worked out. In any event, at the end of the initial fugue theme it is always better if an episodic figure is heard which, depending on the nature of the initial melody, has something about it that is pleasant, melodious, and gratifying to the ear. This same episodic figure may also be introduced in the middle and before the conclusion. This is no small resource in making a serious fugue theme sound w ell.147

We are pleased [to think that] the art of the simple fugue might now be sufficiently revealed. The art of the ancients still can be used today, provided only that it is combined with the current taste, and that every detail is arranged in just the right place.

Fugal movements can very well be introduced in the church, and also in the theater, whenever there is an opportunity. Choruses, arias for two or three voices, yes, even the

145 See n. 35.14* For Daube’s discussion o f the use o f w ind instruments, see Chapter 6.

147 See n. 139.

Double counterpoint 213

text itself can provide the best opportunity.148 However, the initial theme must not be heard constantly, but rather should be intermingled with intervening secondary figures, so as to give the fugue a good melodic continuity, all of which we have said clearly here. Whatever may still be lacking w ill be acquired through a little practice.

II

DOUBLE C O U N T E R P O IN T

This type of composition also originated during the time when harmony, due to the deficiency of melody, was still held in the greatest esteem. Every effort was made to extend the melodic line, which often was composed of barely two or three measures, [254] and, because the continuation of the melody was lacking, the extension was supposed to be accomplished by means of art.149 From this, therefore, have sprung canons, fugues, and counterpoint. Double counterpoint is based on the following principle: two different themes are arranged so that either of them could be the upper voice while the other supplies the second voice.150 But since the first voice is usually higher than the second, it must sound its melody an octave lower when the latter becomes the first voice, or else the second voice must perform its melody an octave higher. I f this two-part melodic phrase is four measures long, it is also eight measures long, as soon as the four measures of the second voice are added onto the upper voice. And if these eight measures then are inverted, so that one time the four measures of the upper voice, and the next time the four measures of the second voice, are heard an octave above or below in this same setting, the result is a length of sixteen measures. If this passage is introduced again in neighboring keys, one can very easily hear a piece of thirty-two measures. A n example w ill clarify this [Example 169].

Ex. 169 Example of Double Counterpoint

149 Daube therefore finds fugal movements appropriate for all three functional styles. He elaborates on the importance o f a text on pp. 266.

149 i.e., the voices o f the harmonic texture were securely related by the art o f double counterpoint, w hich extended a short

segment o f upper-line melody w ith the lower line w hich had accompanied it. See the follow ing paragraph and

pp. 227-8 .

150 Daube defers triple and quadruple counterpoint until Chapter 12 , where he discusses triple and quadruple fugue.


Ex. 169 [cont.)

One sees that since this four-measure theme is chosen in this way, another equally short melody could serve as the accompaniment for it, and sometimes even be used in place of the upper voice. I f the continuation were linked with short episodic melodies as well, an entire piece, which might even serve a different purpose, could be formed. If one wanted to write a formal double fugue, one must carefully ascertain that the two themes are strikingly differentiated, but nevertheless can be heard either in succession or simultaneously. The reason for their difference is that the listener should be able to recognize each theme easily and to distinguish one from the other. The same must be true of the figures of which the themes are composed, and they should be capable o f all kinds of inversions.

In this example we see that different intervals also arise through the inversion o f the voices. We already have said in our thorough-bass method that thirds become sixths when inverted, and these in turn become thirds. One finds this shown separately here.151

151 T he inversion table is a standard tool o f contrapuntal instruction.


Example of the Inversion of Intervals in Counterpoint at the Octave

1 . 2. 3. 4. 5. 6. 7. 8.8. 7. 6. 5. 4. 3. 2. 1 .

Here one finds that from the inversion of the unison, the octave results; from the second, the seventh; from the third, the sixth, etc. One sees that the consonant intervalsremain consonant in the inversion also, lest one would exclude the perfect fourth, whichnevertheless results from the inversion o f the perfect fifth.152 The same is to be understood o f the dissonant intervals also. This is the basis of the rule that the quality of every subject can be tested by inverting it so that the upper voice becomes the bass and the [257] bass becomes the upper voice. If the inversion is also good, that is to say the two voices harmonize well, and the dissonances are properly resolved, the subject is well founded. But since the fourth does become a fifth when inverted, one must be careful not to write two perfect fourths in succession.

Double counterpoint is divided into three different classes. The first consists o f double counterpoint at the octave, of which we have spoken already. It is called this because its melody may never exceed the boundaries of an octave, provided that each voice is to be heard clearly, and is intended to become an upper voice.153 I f one melody ascends more than an octave [above the lower voice], it w ill still be above the other voice when the voices change places, because it over-stepped the octave, as [in Example 170].

Ex. 170

The melody begins on G, but in the second measure goes to the tenth, B, a high [pitch] which crosses above the melody o f the first voice in the inversion, making it unclear. Therefore this is to be avoided.

Double counterpoint at the tenth belongs to the second class, in which one voice may be set a third below the octave in the inversion.

The third class contains double counterpoint at the twelfth, that is to say, the one voice can be written a fifth below the octave in the inversion. The ancients have even more types which, however, have gone completely out of fashion.

A ll three motions are to be used here, but especially oblique motion, which is prominently employed in all three types of counterpoint, because one melody must consist of

152 Here Daube, remaining practical, sidesteps a hotly debated theoretical issue - that o f the consonant or dissonant

quality o f the fourth.

m For further definition see p. 213.

2l6 The Musical Dilettante

long notes and the other of rapid notes, so that each melody becomes distinct and recognizable. These two different melodies also may not enter at the same time, but rather the slow subject usually must precede [Example 17 1] .154 It is also good if the [258] two voices are close together before the inversion, because in the subsequent inversion they w ill move far enough from each other.

The two melodies proceed close together, and nevertheless their intervals become widely separated by means of the inversion. It also happens, especially in fugues etc., that double counterpoint is contrived with the bass and an upper voice, in the course of which a cadence sometimes may result which could not very well take place in the inversion. In this case [the solution] depends upon the arrangement o f the melody. However, if three voices are available, the cadential passage (Klausel) may be given to the voice which has only the accompaniment [Example 17 2 ].155

Ex. 172 Three-Part Counterpoint at the Octave

154 Sim ilar advice pertaining to the diversification o f rhythm ic values, melodies, entrances, and lengths o f motives or

subjects occurs in almost all eighteenth-century contrapuntal treatises. But because o f Fux’s long reign as

Kapellmeister in Vienna (170 4 -4 1) - even despite the wide influence o f his Gradus (1725) - the species-related contrast

o f a slow subject w ith a faster, even-note countersubject m ight be regarded as a particularly Viennese tradition.

155 A free, auxiliary voice, by perm itting a m itigation o f certain rules, allows more freedom o f melodic action compatible

w ith the galant style, as in E x . 192. M arpurg and Kirnberger point out that the rules o f unaccompanied double

counterpoint do not need to be applied as stringently to works involving one or more auxiliary voices which can fill

in open intervals or serve as a foundational bass line. M arpurg states that much that is forbidden by his six basic rules

may take place when auxiliary voices (Nebenstimmen) are present (Abhandlung, vol. I (1753), p. 164). Kirnberger

likewise specifies that many o f the intervallic progressions prohibited in two-part invertible counterpoint w ould be

acceptable in three-part w riting, especially i f a free underlying voice (Grundstimme) were added. Sim ilarly double

counterpoint at the octave between the inner voices o f a four-part score would require only the avoidance o f parallel

fourths and fifths, as in Daube’s instruction (Kunst, vol. I I / 2 (1777), pp. 12 , 70).

Double counterpoint

Ex. 172 (cont.)

217

p - U J J i /Ha

^---

w 1 n p a,•-A--f#|9--

TT Lp—J^]J ft— — J-i-J —

S m m * p " r r

[260] Here the upper voice and the bass are in double counterpoint. The latter, which begins, has long tones. In the sixth measure it has the melody o f the upper voice, which takes over the bass melody. The [upper] voice sounds the cadence in measure five. In the [tenth and] twelfth measure[s] one likewise finds this cadence in the [bass],156 until finally the formal close is made through the proper cadence. The various alternations of sharp, flat, and natural signs in the first voice have been contrived for the purpose o f showing that even melodies involving accidentals can be introduced in double counterpoint.

Counterpoint at the octave is still frequently used, especially in the church style. It makes a good impression when it occurs in vocal pieces such as choruses and duets etc., where one voice sounds plain, long tones against the other voice.157 If it should appear in instrumental pieces and sometimes occur in the bass, the violoncello or bassoon is suitable

156 “ upper voice” in the original; “ middle voice” in preceding sentence. Another interpretation: “ The bass . . . measure

five. In the [tenth] measure . . . upper voice.”

157 “ Long tones” in this context suggests the traditional cantus firmus and the conservative church style. See the second

paragraph dow n, pp. 168, 220 , 227 and n. 13.

2l8 The Musical Dilettante

for playing it, but not the double bass because the tones o f the low register are not expressed clearly enough, especially when there are many rapid intervals.158 The ear is the best judge o f these matters. However, a master who understands instruments can disregard this observation, particularly i f he also is gifted with good judgement.

These few examples, and the comments made about them, will be sufficient for an amateur to arrive at a clear idea o f this type o f composition.

Double counterpoint at the tenth w ill be discussed next. This species can also be used in church pieces. This counterpoint has the peculiarity that, in the construction of two voices, another part arises simply by transposing down a third. This is done in two ways. W hen the rapid [subject], or countersubject, is transposed down a tenth, both o f these voices can still harmonize with the slow theme. W hen the slow subject is [originally] placed an octave lower, and then rewritten a tenth higher, both o f these voices can harmonize with the countermelody, which either is left in the high register, or likewise transposed down an octave.

However, in the original construction o f two voices, or o f the subject and countersubject, two thirds or sixths may not be written consecutively, since they would become two octaves and fifths in the subsequent transposition o f a tenth.

[261] Indication o f H ow the Intervals are Changed in Counterpoint at the Tenth

1 . 2. 3. 4. 5. 6. 7. 8. 9. 10.10 . 9. 8. 7. 6. 5. 4. 3. 2. 1 .

From these numbers one sees that the fifths become sixths, and that these in turn become fifths. The method of inventing this type is similar to the preceding. One seeks a melody which does not commence right at the beginning o f the measure. Then one rewrites every tone an octave and a third lower. After this, one constructs a slow melodic line which harmonizes with both voices.159 This forms the basis. Thus, from this instruction and the accompanying examples, one will also understand why we do not set thisdown in two parts.160 It is done in this way only so that one can immediately see how the slow subject harmonizes with both versions o f the rapid subject, without needing to know the rules o f the ancients [Example 173].161

Daube intends for invertible counterpoint to be clearly audible and to be used both in galant instrumental m usic and vocal church music. See nn. 159, 168, 17 1, and 172.

159 Daube’s com position o f the more rapid countersubject in advance o f the slower, plainer subject is a fairly radical

departure from a tradition that originated w ith the organa o f the thirteenth century and had recently been reinforced

by F u x ’s species counterpoint method, Gradus (1725), Ger. trans., M izler (1742). Daube’s procedure, made possible in

part by his simplified, predictable chordal progressions, allows greater freedom in com posing the figurated counter

subjects, thus m aking double counterpoint more attractive to those o f galant taste. Com pare pp. 221, 222, and 224.

160 T he follow ing three-part layout is another standard tool o f contrapuntal instruction. See n. 151.

161 Daube consistently equates rules w ith “ the ancients,” freedom (the free style) w ith “ the moderns,” but feels that his

contemporaries can benefit from older techniques by applying them in a modified, freer manner. In E x. 173, the lowest voice has a bass clef in the original.

Ex. 173 Example of Counterpoint at the Tenth


+1. „ - 1 „ 1 1— - = 1!:s *

!

^ J: j *

-------P------- m 0 P------- f ------------ m-------- t‘ ----------------n -------------------

t ? r u 1 M r c j f - f ..* = *1 i~ P. = j 1 j j 1 =ifr-f - J o = J

The slow theme commences at the unison, but may also begin at the octave. If these three voices are examined, one discovers that contrary motion makes this counterpoint possible, since it is based on nothing but perfect chords, and therefore could probably very seldom be good without contrary motion. O f course, all three voices harmonize with one another even though no key is observed, but if one desires this to be done correctly, then one must modify the beginning at least slightly here, namely, by giving the third voice C instead o f A . 162

I f one wants to set the slow theme in the bass and put the rapid countersubject above it at the tenth [see Example 174].

Ex. 174

Ex. 174 (c o n t.)


Here the construction of the upper voice will immediately be obvious to everyone, because it is merely the result of transposition. Both voices harmonize with the bass. The accompanying example demonstrates that bound tones can also be introduced in it

[Example 175].

Ex. 175

From these examples the amateur already will have observed that this type o f composition consists o f nothing but two voices proceeding in thirds with each other, plus a slowly moving middle voice. These three voices subsequently might be transposed again, so that the slow voice is also placed a tenth lower or likewise transposed a third higher.

This counterpoint can very conveniently give rise to the foregoing type, at the octave, if the voice which has been transposed a tenth [264] is omitted. But counterpoint at the twelfth can be formed even better from it, if the voice which is set a tenth below is written down another third.163

Although this type demands no small judgement if it is to be introduced tastefully into a church piece or elsewhere, it is very easy to construct according to these instruc-

163 T he conversion o f one type o f invertible counterpoint to another by m oving one o f the lines the interval o f a third, and

the amplification o f lines by parallel thirds or sixths permit harmonic diversity within a unified plan. These procedures

were facilitated by the system o f movable C clefs. As Fux stated, counterpoint at the twelfth “ can be read variously in

two, three, or even four parts” (Fux, Gradus (1725), Ger. trans., M izler (1742), p. 149, Eng. trans. in Mann, Fugue

p. 123). O ther eighteenth-century theorists w ho deal w ith these techniques include M arpurg [Abhandlung, vol. I (1753),

pp. 181—2, vol. II (1754), pp. 45-51) and Kirnberger (Kunst, vol. I I / 2 (1777), p. 132).


tions. I f one examines this counterpoint minutely, one w ill find that, in essence, it is a succession o f fifths, which is also true o f the following species. But opposite or contrary motion makes the composition good. Although dissonances can also appear during contrary motion, they must be regarded merely as passing tones. W hen oblique or opposite motion is used, dissonances can result on the down beat o f the measure, at least under the preceding condition. In adding and inventing the slow subject to the countersubject, one must make certain that it has an alternation o f sixths, octaves, thirds, and fifths with the countersubject, especially on the first and third quarters o f the measure.

We mentioned a short time ago that this type o f counterpoint is based on a succession o f fifths. To demonstrate this we want to cite another example, so that the amateur might be able to combine theory with practice in his study [Example 176].164

Ex. 176

IE&t - J T J • 7 r J f11 r "i r • \

0

A t the tenth

(i *

...

0

^— 1— f p & r - = i

One observes that the third voice amounts to nothing but the first voice written down a third and in the lower register. In the first measure the second and upper voices are a fifth apart. The second measure begins with a third; the third measure with an octave; the fourth measure again with an octave. A t the beginning o f the fifth measure one finds a fifth; in the sixth measure an octave; in the seventh measure a third. This is followed in the eighth measure by another octave and then another one in the ninth measure. The penultimate measure has a fifth which moves, in the last measure, to a third and then to the concluding octave. N ow [Example 177] the third voice is rewritten an octave higher in the position o f the first voice, and then transposed anew to a third below the

1W Ex. 176: m. 5, second voice, e ' in the original (noted in Druckfehler).


octave, namely to the tenth below. N ow two voices have originated through the transposition o f the first voice. The middle voice, or the slowly moving subject, remains unchanged here.

Ex. 177 With the Third Voice Rewritten in the First Voice

a , _ 1 - t - 1 1 . r ■ J J -

b r > - =f =

j r l-f ....<L- j — -----------J ---------------------------------------------------------L------------------

O = 1 = e

This at the tenth belo\L p l , _ 1 = f =

V

1 1 I I

0

0 m rj J J v_i— j — < — \ j ----------------1

—U -

m= r --F—t--------------- [

'L JU J J p-1 r r J J ibr r r r y

Uo---------s

[267] Here, therefore, the slow subject again must harmonize with all three transpositions o f the countersubject. As was said, the latter is first set down a tenth, but in this example this [transposition] is likewise placed an octave higher, and the transposition to the tenth below has been undertaken anew from here. If one takes these three transpositions together, they constitute a succession o f perfect fifths. This might also disclose how such a counterpoint might be easily imitated. For example, one invents a melody, transposes it a fifth lower, and then writes both voices on one staff. To these two voices, which are a fifth apart, one writes a slow melody which, as the third voice, harmonizes with both. Afterward one writes this piece in the usual two voices as it is written out here, that is to say, these three voices are never heard, but rather only two o f them, unless one still wanted to add a third voice which, however, must certainly not come into existence by means o f transposition.

The third species o f double counterpoint is counterpoint at the twelfth. The range of this type is the largest, because the two melodies encompass twelve steps. A ll dissonances and ties can be introduced in this kind o f counterpoint. Only the fifth and the twelfth must not appear often, especially with so few voices, because their inversion results in the unison and the octave. Sixths should usually be tied; their inversion results in sevenths. The accompanying table shows how each interval changes when it is inverted.


12 . 1 1 . 10. 9. 8. 7. 6. 5. 4. 3. 2. 1.1 . 2. 3. 4. 5. 6. 7. 8. 9. 10. 1 1 . 12.

Here one sees that the twelfth becomes an octave, the eleventh becomes a second, the tenth becomes a third, and so on.

Learning this kind o f counterpoint is similar to learning the preceding kind. One writes down a melody, then transposes it a twelfth higher or lower, and, if it is workable, writes it on a staff. Next one constructs a slow melody that harmonizes with both voices, and then the counterpoint is finished. Both subjects, as was said, can be transposed an octave higher or lower. In short, both must be suitable to become the first or second voice through transposition [Example 178].

Ex. 178 Example of a Fugue Theme for Counterpoint at the Twelfth

If counterpoint at the twelfth is to be constructed from this bass melody, one must set it a fifth above the octave in the first voice, as [in Example 179].

Ex. 179 Transposed Up a Twelfth

A slow melody is arranged between these two voices so that it harmonizes with both [Examples 180-81]. The three voices, that is, the slow and fast subjects, are usually written in score, although, as with the previous ones, only two parts are needed.

Ex. 180 At the Twelfth

Ex. 181 In Another Way


[270] Here everyone perceives o f what this science consists. Even one who knows only the simple harmony o f the common chords, can easily succeed in this otherwise artificial type o f composition if he transposes the rapid subject in this way, and then constructs a slow melody that harmonizes with these two voices. By doing this one immediately discovers whether these three voices harmonize with each other and where they are resolved correctly. Here, however, as was said, the intention is not for these three voices to be constantly together like that, or to be playable.

The slow subject, too, can now be transposed to the twelfth [Example 182].

Ex. 182 Another Way

N ow the first voice, or the slow theme, can also be set an octave lower in the bass and again transposed up a twelfth into the upper voice, as [in Example 183].

Ex. 183 Yet Another Way


Here the rapid theme, first written a twelfth higher, has been set in the middle voice. If one wanted to place the rapid theme, originally set in the bass, one or two octaves higher in the upper voice, and then write it once more a twelfth lower [see Example 184].

Ex. 184 Another Way

This double counterpoint has been expressed in three voices throughout, so that it can be examined better, although, strictly speaking, it really exists in only two voices. The transposed voice is there only in order to indicate that one voice could sometimes be combined with the other theme in both its original and transposed versions. However, if one did want to sound three voices simultaneously, this might be done in the manner o f double counterpoint at the tenth, [272] but in doing so, one or the other tone must be altered, or else the key would suffer.165 Let us also present an example, prepared in this way, as explained. [Example 185.]

Ex. 185 The Foregoing Fugue Subject in Counterpoint at the Tenth

The harmony o f this three-part example is still somewhat deficient. I f one wanted to improve this, it might possibly be done in the following manner. [Example 186].

165 Since double counterpoint at the tenth is based on oblique and contrary m otion and perfect chords, all three voices

may be sounded together. T his practice, like conversion and amplification (see n. 163), touches on the modal con

nections o f invertible counterpoint, since the inversion o f tw o voices at an interval other than the octave often creates

the effect o f side-slipping to a different range and tonal center. (C major could sound more like A aeolian when the

upper voice is transposed dow n a tenth.) Daube shows how to “ correct” this situation in the follow ing pair o f

examples. H is “ improvements” consist mainly o f transforming the modal setting into a tonal idiom by means o f

“ elevating” accidentals w hich strengthen the sense o f key. Com pare n. 167. Com pare Kirnberger, Kunst vol. II/2

(1777). P- 73-


Ex. 186

From this multiple transposition o f a single example one clearly sees how many modifications o f harmony and melody are to be derived from one counterpoint. If the inversion o f a subject and its countersubject are added, twice as many permutations can be drawn from it .166

To those who are completely unacquainted with the word[s] “ melodic inversion”, let us say that it occurs when the ascending steps and leaps which appear in the melody are repeated, inverted in such a way that the ascending intervals become descending intervals, and the reverse. To demonstrate, an upward leap o f a fourth, fifth, etc. [274] subsequently occurs in the inversion as a downward leap o f a fourth, fifth, etc. The note values remain the same. This inversion may be done in a different way, depending upon whether the intervals are close together or far apart. The preceding example, with the retention o f the close intervals and the key, nevertheless offers one a choice o f three different inversions [Example iS ja -d ]. Each type consists o f contrary motion. But we must say that none o f the three is inverted as strictly as possible. The retention o f the key is responsible for this.167

Ex. 187

(a) The Previous Example

(b) First Inversion of this Example

(c) Second Inversion

■“ See pp. 2 27 -8 and nn. 87 and 172 .

167 Free, tonal melodic inversion. Daube’s modern, harmonic emphasis on preserving “ the close intervals and the key”

differs from the traditional intervallic approach o f Fux: “ occasionally, for a better melodic line, one uses a consonance

not properly belonging to the triad . . . ” (Gradus (1725), Ger. trans., M izler (1742), p. 87, Eng. trans. in Mann,

Counterpoint, p. 72).


Ex. 187 ( c ont . )

(d) Third Inversion

These three inversions, combined with the modified countersubject, make up the following double counterpoint [Examples 188-90].

Ex. 188 Inversion of the Melody of the Preceding Example with the Slow Countersubject

Ex. 189 Second Type of Inversion

These many diverse modifications o f a short melody were frequently o f great benefit to the ancients. B y means o f them, every subject could be greatly changed, which was very useful in the church style. Therefore, if one also considered the additional possibility o f rewriting such a short melody, now in double counterpoint at the octave, now at the


tenth, and then at the twelfth, an initial melody o f several measures could certainly be extended for as long as one might ever wish. And this was accomplished by art!

It is known that in former times the art o f double counterpoint in general was the most important [technique] in all o f composition. This could still be true, even if the melody were combined with art in such a way that the former reigned and the latter served.168 In the future we will show what can be done with the melody itself by means o f this same art. This w ill prove to be of great importance.

The counterpoint at the twelfth discussed here should rightly have been discussed first, since it can accommodate ties in a good melody. If one has practiced this kind, he also w ill be able to employ such a melody at the tenth, indeed, even at the octave. A short time ago, with the theme set in three voices, we have shown how it would apply at the tenth. On that page, 222, we are further reminded that the third voice should be heard an octave lower. The following example shows how to set the same melody at the octave [Example 191].

Ex. 191 Counterpoint at the Octave

This counterpoint at the octave is correct, although it originated in that at the twelfth. We intentionally chose only one melody and led it through all o f these modifications. Also we preferred to take an easy example and a simple melody, so that the amateurs could grasp it more quickly. We hope to have explained the theory o f counterpoint so that everyone who has only a moderate insight into composition might be able to understand it and profit by it. In any case, a little practice is o f great value and w ill clarify whatever may still seem partly obscure.

B y means o f this resource a composer can introduce a most agreeable variety into arias, symphonies, etc. And in all large pieces [279] counterpoint may be prevalent in one or two melodic motives. These must not be long, however, so that the freedom of

168 Daube proposes that double counterpoint, like canon, m ight be adapted to the modern, homophonic idiom by letting

one main m elody predominate, in contrast to the practice o f “ the ancients,” w ho usually constructed tw o or more

voices o f nearly equal importance. Kirnberger says that even the tw o concerting parts o f a duet must be invertible,

so that the first voice, after presenting the main melody (Hauptgesattg), can take the role o f the accompanying voice

(begleitende Stimme) (Sulzer, “ Contrapunkt. (M usik.),” AUgemeine Theorie, vol. I (1771), p. 229). See Kirnberger in

n. 17 1. Thus, although invertible counterpoint is “ the most frequently used contrapuntal device” in the later eight

eenth century, “ the secondary parts are so simple that one simply does not think o f it as being contrapuntal . . . ”

(Horsley in Kollmann, Essay (1799), p. xx ix ).


melody and harmony might always have supremacy. Even in magnificent, brilliant passages, double counterpoint at the octave can be introduced, and obtain a good effect [Example 192].169

Ex. 192

169 A s w ith canon (see n. 103), Daube suggests that short passages o f “ learned” -style double counterpoint interspersed

in the prevailing style m ight provide the stylistic variety o f rapidly alternating affects so congenial to the galant spirit.


Ex. 192 ( cont . )

[182] The first four measures are actually carrying on double counterpoint at the octave. The melody o f the upper voice is arranged so that the separate bass melody also harmonizes with it and subsequently, at the end o f the first four measures, may move up into the upper voice while the initial melody o f the upper voice may come down into the bass. The rapid movement o f the inner voices produces an active harmony. At the end o f this example [mm. 14-15] the two upper voices again have a short double counterpoint which occurs here as an episodic m otif for a change from the brilliant and rushing styles. In this way double counterpoint can be used, and can show forth art and beauty. Even the very slow main subject can be employed if it is played by wind instruments.170 A judgement built upon theory and practice can make use of everything, however insignificant it may appear to many people.171 The alternation of the octave and third, and similarly of

170 Com pare Daube’s use o f sustained w ind tones in Chapter 6, passim.

171 Frequent defenses o f double counterpoint and fugue in theoretical treatises suggest numerous critics, especially

am ong dilettantes unaware o f the contribution o f these techniques to galant music. Quantz considers counterpoint

at the octave essential for a beginning composer, because it is used in both artificial and galant pieces (Versuch, (1752),

p. 12 , Eng. trans., pp. 22-3). Kirnberger says that double counterpoint is indispensable to free-style compositions

w hich involve concerting voices - from duets and trios to symphonies and concertos. (See n. 168.) As examples he cites

w orks o f Handel and K . H . Graun (Sulzer, “ Contrapunkt. (M usik.),” Allgemeine Theorie, vol. I (1771), p. 230),

Double fugue 231

the third and the fifth, so common with the ancients, is presently used only by those who are acquainted with the variable effect o f harmony.172

1 2

DOUBLE FUGUE

This discussion is closely related to the preceding one. Here we w ill speak o f the process o f constructing a fugue according to the various double counterpoints, something which our forefathers held in great esteem. Experienced and skillful composers still value these pieces highly, because the greatest art o f composition still rests in them.173

The double-fugue subject accordingly consists o f two different melodies arranged so that they can constantly change places with one another throughout a piece.174 The upper voice may sometimes be written an octave lower, and the lower voice, or the bass, an octave higher, in place o f the upper voice. B y means o f this inversion, the two melodies are connected and joined together so that the ear always hears only one melody with regard to the upper voice.175

[283] Double fugues are divided into various types. One o f them has much in common with the simple fugue. The only difference is that the countermelody which is written at the entrance o f the second voice might also be inverted with it, or transposed down an octave. Subsequently, at one or another entrance of the initial melody, it may reappear, either above or below.176

composers whose w orks Daube admired and studied (Beu>eis (1782), p. 22 and Erfindung (1797/98), preface).

Kirnberger claims that counterpoint and canon are criticized only by those w ho never had enough opportunity,

ability, or patience to master them (Kunst, vol. I I / 3 (1779), p. 17), and states that counterpoint and compositional

“ purity,” rather than detracting from beauty and expressiveness, are essential to those ends (ibid. vol. I I / 1 (1776),

pp. 3 -4 , Eng. trans., pp. 283-4). M arpurg dedicates his Abhandlung (1753-4) to Telemann, w hom he praises for

proving that the galant style can be united w ith contrapuntal features, and insists that even composers o f tasteful galant

works must have a sound basis in double counterpoint (n.p.). For use o f fugue in this era see Kirkendale, Fuge, passim.

172 W hile Daube sees melodic extension as a prim ary advantage o f double counterpoint in the w orks o f the “ ancients,”

he finds that even present-day compositions can benefit from the “ many variations o f harmony and melody . . . derived

from one counterpoint.” (See n. 186.) O ther theorists also express an appreciation for the harmonic variety inherent

in invertible counterpoint. Fux, for instance, explains that “ the function o f double counterpoint is to produce a differ

ent harmonic sound through inversion” (Gradus (1725) Ger. trans., M izler (1742), p. 140, Eng. trans. in Mann, Fugue,

p. 107). Com pare M arpurg, Abhandlung, vol. I (1753), p. 169.

173 See n. 17 1.

174 Thus double-fugue subjects are in double counterpoint, ju st as the triple and quadruple fugues discussed later make

use o f triple and quadruple counterpoint respectively.

175 Daube’s emphasis on the continuity o f a compound upper voice shows his homophonic orientation. Com pare pp. 186,

and 255-6.

176 i.e., the invertible countersubject first enters w ith the answer, rather than w ith the subject. See n. 177 . Compare

Kollmann, Essay (1799), p. 49.


Ex. 193 Example of a Double Fugue Theme

Alleg]

[ 1 - - -

1-. — W i 1- % J T f f

J [ J 1

V -S-

r r r / l

--------------d-J---J----1-- * # d ■9 S' +1.....m +

—|------ 0 m ----A------T

J * #

1

- ^ ■ 3 » -J*

0

^ ------- r * r p -*-------* * j

^ ____J* + a • y 9 --. a i ....

~ u j r i r r

[mm. 1 1- 12 , the lower voice is tied in the original]

Here [in Example 193] the opening o f the fugue occurs in the usual manner. Not until the seventh measure [cf. m. 10] does one find the double counterpoint. There the second voice introduces a new melody, which is immediately taken up by the upper voice, whereby the inversion results, since the melody o f the upper voice is now placed in the lower voice. This type can also be classified as simple fugue, whenever the simple fugue is intended to be [284] artificial.177 In addition, there is the type in which the repetition [i.e., answer] enters in the middle o f the initial melody etc., for which oblique motion serves admirably.178

177 Kirnberger states that the double-fugue subject may first appear w ith the answer as a continuation o f the leading voice, or may enter w ith the subject, as in Daube’s “ double fugue proper,” (p. 233), or immediately after the subject

(Sulzer, “ Gegensatz. Contrasubject. (M usik.),” AUgemeine Theorie, vol. I (1771), pp. 443-4). Daube’s and Kirnberger's

remarks reflect ambivalence in classifying this most w idely w ritten type o f fugue. Because it began w ith only one

voice, it was not considered a true double fugue, but was scarcely differentiated from simple fugue, despite its inverti

ble countersubject. M eanwhile there was a grow ing assumption that simple fugue would include an invertible coun

tersubject introduced w ith the answer, as in Padre M artini’s Esemplare, vol. II (1775), passim. Daube’s statement that

this type “ can be classified also as [artificial] simple fugue” suggests an awareness o f both definitions.

178 A lso compare Kollm ann: “ The Counterpoint may make its first appearance, either w ith the Principal Subject; or

as a short transitory passage between it and the first Answ er; or w ith the first A nsw er” (Essay (1799), p. 50).

Allegro

D ouble fugue


233

7 r r - H

^ v -----------------

l | ___,w 1 L J ^ ^ = r ---

- t h r ~ hP--

a

* ■ r f p -T .. r r r i f f f - r% L H l f

Lp—r

r — r — i T

- 1 u K _ . n 1 =f= ^ = i

1 1 i j —

p JL v J J u

* & — i 1 f~

s 1 m m mI ^ C J L L X f 4 [ r 7 - p

[In Example 194] the second voice begins before the first voice ends. The initial theme is arranged for this, however, so that long tones are being heard at the entrance of the second voice. The bass begins in the same way, except that the first voice again sounds a different m otif with it. The peculiarity o f this type is that all three voices are present before the end o f the main theme, which is first concluded in the eighth measure by a cadence into the commencement o f the following measure. This species of double fugue is artificial, and can also be made beautiful by means of a good melody.179 We now turn to double fugue proper. Here two different melodies appear in quick succession at the beginning and alternate with one another in the manner described above, thus hastening toward the end amidst all sorts o f entries, variations, etc.180 A short time ago we stated that, for the sake o f clarity, one melody should contain more slow than rapid intervals.181

179 T he belief that melody should retain a high priority in the strict style is consistent w ith Daube’s galant aesthetic, in which melody was equated w ith nature. See n. 175 and pp. 156, 157, and 243.

180 This type generally was accepted as double fugue. For “ all sorts o f entries, variation, etc.,” see p. 240. Com pare n. 172 .

181 Com pare pp. 2 15 -16 . Daube repeatedly emphasizes clarity, as i f persuading his readers that this galant objective is

possible in double fugue. See n. 17 1. Differences in rhythm , time o f entry, length, and instrumentation o f subjects

also are recommended. See n. 154 and pp. 244, 247, 249, 251, 254.

Ex. 195 Example of a Double Fugue with Two Subjects or Two Diverse Melodies


Here [in Example 195] the slow melody commences and the countersubject joins in with rapid tones at the end o f the first measure. The inversion takes place in the fourth measure. The rapid passage is moved up a fifth, and the melody which was above becomes the lower voice. Both melodies go into the first-related key. Just as this example commences with the slow subject, so the next one should begin with the rapid subject [Example 196].182


Vivace

182 Daube considers the latter type less common. See p. 216.

Double fugue

Ex. 196 (cont.)

235

The main subject commences already in the second measure. The exchange occurs inthe ninth measure, where the slow theme is found on top. For the conclusion of this typeo f double fugue, it is advisable to observe the following rules: [288]

(1) The two melodies must be invertible by means o f counterpoint at the octave.(2) Both melodies also must be capable o f being transposed a third higher or lower

without modulating out o f the key. 183(3) The two voices must be able to follow one another rapidly, probably even within a

single measure, which should occur especially during the continuation [of the

fugue].184(4) The repetition [i.e., answer] o f each melody must be able to follow the corresponding

subject at the fifth in such a way that the two voices harmonize well.(5) Each main melody must be able to follow itself at the octave.185(6) At least one melody, if not both, must precisely delineate the key, especially before

a later entrance o f the second melody.

We want to take up the first example here, and use it to try to demonstrate these rules

[Example 197^-^].

m i.e., suitable for inversion at the tenth and twelfth.

184 i.e., stretto involving tw o subjects.

185 i.e., stretto o f each subject w ith itself at the octave.

Ex. 197


(e ) In a D ifferent Manner

( 0 Likewise

( j ) Another Exchange o f the Two Voices

Ex. 197a - v (c o n t.)

Double fugue 237


(k ) According to the Fourth R ule

(1) A nother Procedure

(m ) Likew ise

(o ) Likew ise

Double fugue

Ex. i Q j a - v ( c o n t .)

239

(p) Yet A nother Way4/ A U

(*l) Another Way

(s) Yet Another Procedure

Ex. 197a-v (cont.)

M According to the Fifth R u le

r r r ii' r ir r 1 "K___ l j

¥ " I " 'J J Ujj:


It is not necessary to give an example o f the sixth rule because, in any event, the slow subject here strictly observes the key before the rapid countersubject enters. N ow who should ever think that twenty-six variants could arise from one double-fugue theme, for which, moreover, no more than two keys are used? Every variant provides a different harmony for the ear. It is easy to judge, then, how long such a double fugue can last when short episodic melodies are also included as embellishments, and when, in addition, the fugue subject can be led into different keys.186

These six rules lend substance and beauty to the construction o f all fugues. They are to be used to some extent for simple [297] fugues also. Yet we must say in this regard that not every theme is capable o f yielding all o f these modifications. It must be contrived especially for this [purpose]. In making the selection one should try to find a slow theme to which one could set a second voice, either a third higher or lower, without violating the key. After this, one should proceed with the countersubject in the same way. These two melodies, namely the slow and rapid themes, must also be capable o f a good inver

186 For Daube, variety through contrapuntal manipulation is one o f the main attractions o f double fugue. See n. 172 and

p. 263. Kirnberger also requires that the countersubject be invertible “ in more than one counterpoint,” in order to

provide variety during each repetition o f the theme (Sulzer, “ Gegensatz. Contrasubject. (M usik.),” Allgemeine

Theorie, vol. I (177 1) , pp. 443-4).

Double fugue 241

sion at the octave. W hen one has worked out such a double subject, it then is capable of all the previously shown variants. Although this has been touched upon already, we do want to go through this difficult material briefly once more.

Ex. 198

0 5) T h e Slow Them e Accompanied in Thirds

j i„ r f r y mr r r r I r r r i f p = i

H r l t r' M r t r r ■iJr ■■ r-r- 1 r r 1

In this first attempt [Example 198a] it is not necessary to be particularly careful that the four voices, namely each theme accompanied in thirds, harmonize so perfectly. It is sufficient for each individual subject to be able to proceed in thirds or sixths. Here the entire slow subject accepts a third below [Example 198^], whereas the entire rapid subject prefers a third above. In this manner this example, as the foregoing one, can be rewritten as counterpoint at the tenth and twelfth [Examples 199-202].187


(»)

Inversion

187 E x. 200a: alto, note I, c ' rather than a, probably a printing error, possibly to avoid interval o f a seventh. These exam-

pies contain several irregularities due to the fifth at the entry o f the rapid subject in E x. 199a. Com pare E x. 2016.

Ex. 200 Counterpoint at the Tenth


(»)

(»)

Ex. 202 [Melodic] Inversion of the Foregoing Counterpoint at the Twelfth

(»)

0>) [M elodic] Inversion o f the R apid Subject

Double fugue 243

[300] This double introduction may now be sufficient, although such a main article o f artificial composition cannot be described too extensively. As far as the further arrangement o f the middle and the end o f the fugue is concerned, we will say that it certainly would be good to give some instruction for it. But to determine every entrance o f the theme, to designate the keys into which modulations are made, and similarly to designate the rests, would mean, as we have said before, to impose limits on a composer’s thoughts! In this way natural beauty is very often suppressed.188 We w ill say only a little something about it. In two-part fugues one voice may rest for a while when the other voice has the main theme, that is, the theme with which the fugue began. In fugues in three, four, and more parts, the voice which has had the main subject at first can pause for a while to give the other voices room to sound the subject, countersubject, or repetition. It also happens that the voices come so close together that no inner voice could be [placed] between them. W hen the lowest voices have the theme, one, or sometimes two, o f the upper voices accordingly must rest, so that the main melody would never be obscured or made unclear by the overly full texture.189 Also, two voices can sometimes double one or another o f the subjects, namely in thirds or sixths.190

The following concerns fugues which have three different melodies. Our forefathers were more fond o f this type than we are.191 W hy? They valued art very highly and, in doing so, quite often neglected nature, or the invention and continuation o f beautiful melody. The rules which perhaps were necessary to know in order to construct such a fugue consist o f the following:

(1) The fifth should appear bound, or in passing.(2) Dissonances must occur only as passing tones.(3) The unison, third, octave, and sixth must be alternated continually, but none of

these intervals may appear twice in succession.(4) Contrary motion must be especially observed.

The ancients were even more strict about these rules, since they by no means tolerated the fifth, and used no dissonances at all. For the [301] construction o f the bass to an upper voice they used nothing but thirds, octaves, and sixths, as we have already mentioned to some extent, on page 121. The third voice originated afterwards through the upward transposition o f a third, o f either the first voice or the bass. Also they alternated between

188 Daube champions creative freedom even in strict-style genres. See pp. 186-7 , 245, and 258.189 See n. 121.

190 Here Daube indicates a direction taken in nineteenth-century compositions such as Mendelssohn’s Prelude and

Fugue I in E M inor, Op. 35 (1837) an^ Brahms’ Variations and Fugue on a Them e by Handel, Op. 24 (1862). But while

a parallel amplification perhaps contributed to the projection o f the subject, it also lessened the "absolute independence

o f one voice from another” demanded by M arpurg (Abhandlung, vol. I (1753), p. 149, Eng. trans., in M ann, Fugue,

p. 201).

191 M ultiple-subject fugues actually were studied by some dilettantes. Burney, after visiting Vienna in 1772 , w rote that,

“ M . Gasman, maestro di capella del corte, imperiale . . . surprised me much by the number o f fugues, and chorusses,

w hich he shewed me o f a very learned and singular construction, and w hich he had made as exercises and studies.

Some o f them were composed . . . upon tw o or three different subjects; and several o f these, he said, the emperor had

practised” (.Present State (2/1775), vol. I, pp. 332-3, Musical Tours, ed. Scholes (1959), vol. II, p. 113).


the two voices, so that the third voice was transposed up a third, now from the one voice and then from the other. This derived voice was subsequently altered by means of sixteenth notes etc., to create a diversity among the melodies.

[302] Here [Example 203] the second voice originated through the transposition o f the bass and the upper voice.192 To differentiate it from the others, it then was written in eighth notes. The figures also show the origin o f the second voice. Such a subject can be inverted twice. The first time, the second voice is put on top, the bass in the middle, and the former upper voice then is placed in the bass. The second time, the derived voice is set in the bass and the proper bass in the upper voice, which then is placed in the second voice. But in this case it is good if the new bass is set another fifth lower [Example 204].

Ex. 204

[303] This bass, written a twelfth lower, provides a fairly good bass voice, except that it [must] begin and end with F, and the second voice [must] commence with A . Counterpoint at the twelfth is o f use here also. Notice that the movement o f every voice is distinct from the other two. One likewise need not have the voices enter at the same time. If one voice commences on the downbeat, the second voice rests about an eighth or a quarter etc. in the first measure, and the third voice joins in at the end o f the first measure. The voices must be o f different lengths, as well. The theme which commences first

m N ote that E x . 203, “ . . . o f the Ancients,” includes figured bass. Com pare E x . 215a and E x . 221.

Double fugue 245

lasts until the other two have been concluded. The second [voice to enter] can be the shortest.193 Yet everything w ill be left up to the imagination, experience, and judgement o f the composer, since no strict limitations should, indeed could, be set.194 The main consideration is that each theme should stand out clearly. It does not follow that all three melodies are heard at the beginning. One or two can appear in succession at the beginning, and the third melody added later, as i f unexpectedly. This unexpected entrance can contribute to the pleasure o f the listener.195 Thus, a fugue might very well be provided with three subjects but, as was said, clarity must prevail throughout. The foregoing rules show how far we depart from the guiding principles o f the ancients.

Ex. 205

| t l ^ m m

LJTLCXT

This example [Example 205] contains fifths as well as passing dissonances, which formerly were serious mistakes. Counterpoint at the tenth can be very useful here. Even the bass theme may include fifths and passing dissonances without restriction. One could

1,3 See nn. 154 and 181.

194 Basically, Daube w ould impose his flexible regulatory procedures only to achieve the essence o f fugue - imitation

at the octave, fourth, or fifth; then, provided the themes are presented clearly and melodic continuity is achieved,

“ everything w ill be left up to the imagination . . . o f the composer. . . Daube’s comment recalls Beethoven’s

observation to Karl H olz sometime after 1817 that “ it takes no great skill to write a fugue; I wrote dozens o f them in

m y student days. But the imagination also claims its due, and in this day and age another, a really poetic element must

enter into the old traditional form ” (Lenz, Beethoven, vol. V (i860), p. 219, Eng. trans. in Kirkendale, Fugue, p. 134 and

Thayer, Beethoven, vol. II, p. 389). Daube would grant the composer this “ poetic license” years earlier, during a

time when many theorists were attempting to codify, restrict, and preserve this “ antique form ,” w hile many com

posers were carrying on the tradition o f flexible fugal procedure from an earlier era. See n. 188.

195 A s in the free style, Daube advocates the element o f surprise for the listener. In this context, however, Daube follows

the custom o f his italianate colleagues (see Horsley, Fugue, p. 355) in Stuttgart and Vienna in the initial, simultaneous

presentation o f the triple-fugue themes, and merely mentions the possibility o f “ unexpected,” separate expositions

later (p. 255). Reinken states that in a contrafuga, which he defines as a fugue w ith a countersubject, the themes

are “ not continually treated together, but also separately, one after the other, then at times together and against each

other, w hich shows much greater mastery” (Kompositionsregeln (1670, in manuscript) in Sweelinck, Werken, vol. X ,

p. 54; see M ann, Fugue, p. 42). Com pare Rameau: “A ll the entrances o f the first fugue may be used w ithout bringing

in the other fugues. We then pass to the second, to the third, etc., m ixing the preceding fugues w ith the new ones,

although we may also introduce each fugue independently o f the others and m ix them only later. W hen we wish to

have several fugues enter simultaneously, w ith one fugue in one part and another in another part, we must be on

our guard against confusion, for one design w ill often overpower the other . . .’ (Ram eau, Traite (1722), p. 357,

Eng. trans., p. 367). M arpurg, in addition to noting that the various fugue subjects may be treated separately, offers

the reminder that the themes do not always have to be used in their entirety (Abhandlung, vol. I (1753), p. 131,

Eng. trans. in M ann, Fugue, p. 191).


construct a fugue subject with three [304] different melodies, even without knowing these rules. To do so, one might perhaps consider only the inversion, in which it would very soon become evident whether there were still something to be changed here or there. This next example [Example 206]196 again differs from the above in that the first and third voices are based on counterpoint at the octave, but the second and third voices are based on counterpoint at the twelfth.


The first subject is capable o f being rewritten as counterpoint at the octave, because the two voices are close together.

Ex. 207 Counterpoint at the Twelfth

Ex. 208 Inversion of the Voices

196 Ex. 206: the upper line is marked “2” in the original.

Double fugue 247

Here [Example 207] is the second subject which lends itself to counterpoint at the twelfth.197 The same is also true o f the third subject [Example 208]. Therefore, if one takes these three different melodies together, they can be inverted as often as desired and assume multifarious arrangements during the working out o f the entire fugue [Examples 209-10]. The three simultaneous melodies w ill be clearly perceived by the ear, especially if different instruments are chosen for them.198

Ex. 209 All Three Melodies Together

An overly strict observation o f the pertinent rules has been avoided intentionally. The entire [process of] invention, as was said, consists principally of writing a theme, and under it the very same theme transposed down a fifth. A bass which harmonizes with both voices is then written, as we have already indicated in the foregoing discussion. This bass must contain no ties, and dissonances should occur in passing. The third, octave, sixth, and unison must alternate well among one another. The transposed theme w ill demonstrate where the fifth may be introduced. The third melody may be arranged according to the other two. It must enter after a few rests. To expedite the invention o f this third melody one selects only the beginning, then transposes the first melody down a third. These transposed tones, with a few subsequent modifications by means of doubling some tones and changing the note values etc., are easily brought to the point

197 E x . 20 7 : middle line, beat 3, three eighth notes in the original.

198 See p. 164 and n. 181.


that they can yield an entirely different melody. This is the manner in which a fugue theme with three different melodies is constructed. Just as this type consists o f counterpoint at the octave and twelfth, so there is another species which contains counterpoint at the octave and the tenth. This has a considerable resemblance to the preceding type, since the third, octave, and sixth must be alternated here also, and two identical intervals may never follow in succession [Examples 211-14].

Ex. 211 First Example

Ex. 214 Fourth Example

Double fugue 249

In the first example one sees that the first and second melodies are in counterpoint at the octave. The second example already shows the inversion o f these three melodies. The third melody is a tenth lower, whereas the second has been written a sixth higher (that is, the lower third raised [an octave]), but the first melody has remained in its regular position. The third example shows another inversion. The first melody has been rewritten a sixth higher and put into the second voice, whereas the second melody is a tenth lower [than it was originally], and the third has remained unchanged. In the fourth example one sees that the first melody was moved down a tenth [from the original], but the third melody was moved down only a third, while the second has been left unchanged. For the sake o f those who are not yet practiced in such art pieces, we still want to repeat several things about the construction o f this kind o f three-part composition. One selects a short, simple melody and writes a bass for it, which contains no fifths nor dissonances, except in passing. Two thirds etc. may not occur in succession. At the same time one constantly tries to observe contrary motion. After this the melody is transposed a third higher, and from this transposition the highest or first melody must be formed. After this one discards a few o f the initial tones from the first and second voices, or from the second and third voices, because not all three voices can begin at the same time [Example 2i$a-c].

Ex. 215

(a ) T h e First Version w ith Two Voices

| J J.=$ — --------------P '' J J J ~

8 3 6 8

J - 4 • 0 • ----- 4 -----

3 6

r j

L _ J ------J ----- J -------- U

8 3 8

r > J ~ r ~ ^ iI L m : £ ■ - r J =

(k ) O ne Voice Transposed L

| h f h , , J r

If J - =

p a Third

— j ---------------- u

1 j j 1i r L J r r = p J / r T r r

I ■ I T J J j — \4&-2-L—, ---d---•-----dL J- J * # *---4---

\f 1 * 11^ f r

(C) Omission o f the In itia lr

f (i ‘ r fe'ones

m i r r r i

-F— d---------«

m

f o r - I J l lm m


[310] After this preparation one tries to modify the uppermost voice. This is done by taking a tone from the second voice now and then, combining it with the first voice, and then filling the space between them with a passing tone. In this way the second melody is also somewhat changed, but here one is not concerned about a change by means of transposition up or down a third, or a combination o f these, but rather one strives only to distinguish this melody a little better.199 The bass may remain unchanged. After this adjustment, the three melodies might perhaps turn out like this [Example 216].

Ex. 216

r {‘ 1 ' p r r E r r p < j - 1

j m i - -ti$ L 7 J|

=**="• r r J=

4' 4 • '—0 ■ ■* 4* ■#---J— 5I---- 7r---- 4

i r 1 T r ' - m

Here the first melody subsequently is made into the second voice, and the latter into the first voice. Because the second melody commences only briefly at the end o f the first measure, the first melody can be modified appreciably. One w ill realize that the first example also began with this [melody]. After these preliminaries two different melodies can be transposed a third lower or a sixth higher at any time. We have said that contrary motion should be observed and also that the beginning of two melodies can be cut off, and the third perhaps shortened at the end. B y means o f this latter, more room w ill be made for the [other] two voices. A t the end o f each melody, one or two intervals may well be changed, especially in the transposition o f a tenth.

The most artificial way to construct fugues consisting of three different melodies, is to derive both the others from one main melody. This is done when the second voice [to be written] introduces the intervals o f the first voice in retrograde. These [311] tones, now rewritten into the second voice, must harmonize with the entrance and continuation o f the first voice. The third voice [to be written], on the other hand, imitates the tones of the first voice in notes that move twice as slowly.200 This therefore must furnish the slow m otif and precisely agree with the other two melodies [Example 217].201

199 See nn. 154 and 181.

200 D eriving additional voices from the main subject is fairly common in late eighteenth-century fugues. Kirnberger

states that countersubjects “ must be taken from the main subject” (Sulzer, “ Gegensatz. Contrasubject. (M usik.),”

Allgemeine Theorie, vol. I ( 177 1) , p. 444). But such derivation - as in the episodes o f “ strict” fugues - generally entails

m otivic relationships, rather than strict canonic techniques applied to the entire theme. It w ould appear that Daube’s

particular “ recipe” for the “ most artificial” triple fugue is not part o f traditional instruction, but represents a late

eighteenth-century tendency to restrict and formalize the fugal procedure w ith artificial devices for intellectual

satisfaction, sometimes to the point o f being “ gekiinstelt” (i.e., overly artificial or unnatural). M arpurg uses the term

“ ricercare” (recherchee) for a strict fugue which makes extensive use o f scholastic devices (Abhandlung, vol. I (1753),

pp. 19 -20 ; see Horsley, Fugue, p. 291), and although Daube insists on freedom in the continuation o f a fugue, this

term could be applied to the beginning o f his artificial triple fugue and to some o f his “ fugues w ith four different

m elodies.”

201 E x . 2 17 : in the numbering o f the melodies, “ 2 ” and “ 3” were reversed.

Double fugue 251

Ex. 217

The accompaniment for the remainder o f the slow melody is left to the freedom of the composer. Although this example is bad, we do believe that its construction might be difficult to imitate without the following rules:202

(1) A certain number o f measures must be selected in advance and the middle marked off.(2) The first half o f the first measure must consist o f the first chord.(3) The last measure must contain the first chord. The middle division must likewise

have one and the same chord.(4) The first and last notes must be long so that, when the melody is written backwards,

this long tone could be made short, and the remainder taken up by rests.

One writes a melody as far as the middle division, as prescribed, then constructs a harmonizing countermelody to it, and afterward adds the notes o f this melody backwards onto the initial theme. Hereupon this entire melody is written backwards in the second voice and then the first two melodies are finished. The [312] third melody, as mentioned, is produced by augmentation o f the note values. Because o f this lengthening it happens that only half o f the melody o f the first voice is used [for the third voice]. If, unexpectedly, the last note o f it is not represented by one o f the two figures in the [proper] chord, it is changed accordingly.

This little-known fugue subject has the peculiarity that all dissonances take place in it, and also that only a single good melody needs to be contrived. The continuation o f this fugue is similar to that o f the other types.

Something still remains to be mentioned about fugues consisting o f four different melodies. This type is not particularly different from the foregoing. For the most part, the same rules apply. There are two different species o f these, in the first of which one has to observe only that the initial note must not be the fifth of the key because, in the inversion, it cannot furnish a root in the bass. W e have already remarked that each melody should be differentiated from the others, partly by the earlier or later entrance, and partly by the completely dissimilar melody itself. Accordingly, one should simply write down four completely different melodies which harmonize well with one another, observing contrary motion o f the voices, so that two voices could proceed in counterpoint at the octave, and the fifth would appear bound. It can also be remarked that one voice should consist of rapid tones, another o f very slow tones, the third of notes intermixed with rests, and the fourth o f slow and rapid tones [Examples 218-20].203

202 Com pare pp. 167-8 and 17 1-2 .

203 See nn. 154 and 181.


Ex. 218

Ex. 220 Second Exchange

[3H] These two inversions w ill be enough to demonstrate that, even without those rules, one might be in a position to construct these fugue movements which exactly coincide in the inversion, [a technique] that, for the most part, had not yet been discovered by our forefathers.

Double fugue 253

The second type o f four-part fugue is subject to many restrictions. A t first a melody is written, and to this a bass voice is constructed which merely does not contain two thirds or sixths in succession, but rather, when the upper voice constitutes a third with the bass, a sixth, or an octave must follow; i f a sixth precedes, a third and octave can follow. A fifth may not be tolerated here at all, except in passing. The same is to be understood of dissonances also; no bound tones may occur as dissonances. Therefore if two voices are contrived as prescribed, one can then add two more, since another voice, transposed up a third, can be written above each one, as we have said at various times before.204 The voice which is written a third above the first voice can then very well leap to [either] the lower or higher octave [of an interval], and the voice written a third above the bass may do likewise [Examples 221-3].

Ex. 221 The First Melody

Ex. 222

204 Thus the subjects w ill be invertible in counterpoint at the tenth. See pp. 2 17 -2 0 .


Ex. 223 Cut Off and Varied

[316] From the first example it is clear how the bass should be constructed to a melody set in the second voice and that, in doing this, only the alternation of the third, octave, and sixth is taken into consideration. The second example already shows the four voices, and how the other tw o have originated merely from the upward transposition of a third. In the third example, however, one sees the modification of these voices. A few notes have been discarded from the beginning o f the first voice, so that it now commences at the end o f the first measure. In the second measure the space between the leaps has been filled with notes, and after that it has been varied only a little. The third voice also has been changed slightly. The beginning has been cut off, and the following tones have been divided and displaced with dotted rhythms. The bass, however, has remained unchanged. Clarity w ill inevitably result from this abridgement or abbreviation of a voice. A ll four different melodies are thereby made intelligible.205 One knows now that no accompanying voices are present, but rather real melodies which are very different from one another. The ancients did not make use o f this method (Matiier). They knew little o f the art o f variation. Their modifications would consist of the following: when they let the first voice move along very slowly, the other had to be arranged with leaps against the first voice and the bass; the third voice was characterized by rapid tones, and the fourth would be interspersed with rests. Today, since everything in composition depends on clarity and melodiousness, and anything restless, whispering, or indistinct in the different voices is banished, there has been added the diversity o f prosody, that is, the various note values, for the sole purpose o f increasing the clarity.206 The voice which commences first may not continue to the end o f the other melodies, unless it is the bass which has the initial melody. The voices which have the ending, especially when there are only two o f them, can be arranged in counterpoint at the octave, and may also contain dissonances.

205 See nn. 154 and 181.

206 Com pare p. 266.

Double fugue 255

This kind of fugue might continue in the following way. At first one should try to present the various melodies clearly, then one would take the two melodies which are most suitable and pursue them for a while in the manner o f a double fugue, and then join in unexpectedly with the other tw o .207 W hen these have made their presence known, one might combine one of the former melodies with one o f the latter tw o. After this [process of] variation, short secondary melodic motives could appear which are newly introduced [317] or derived from a main melodic motif. These short secondary motives serve to delay the main m otif a little, in order to provide a melodic change for the listener, and also to furnish a good connection between one and another melody.208 After this one may present three melodies [at one time], especially if the fourth is somewhat modified and precedes or follows. Thereupon one again would let two of them be particularly prominent. Then the same short secondary motives can appear in another key, followed, if one wishes, by three main motives again. N ow the fugue moves toward the end. A ll four melodies can join in again. This can sometimes be done in the middle, too, in order to lengthen the fugue. The voices may now enter as they did at the beginning, or in another order. It is good if the main melodic motives are o f one length, and are arranged so that they now can follow one another more rapidly.209 The series of entries can also appear in other keys, since it may occur in the middle.210 Likewise, one melody can be changed to some extent for the sake o f the others. It may even be repeated in the manner o f a simple fugue subject. A ll o f this can take place toward the end. And although various inversions can result from counterpoint at the octave, tenth, and twelfth, yet the neighboring keys must not be neglected. Above everything else, one should concern oneself with a good melodic coherence. W ithout this nothing is accomplished in music. T o whatever extent the melody might be divided among the voices, a good continuity certainly must prevail. Let us suggest the following means to attain this aim: when the four-part fugue is entirely constructed, one extracts a voice which contains no rest whatever; the other voices must contribute to its [formation]. For example, i f the bass begins, one takes this beginning as far as the commencement o f the first voice, and proceeds with the latter. I f a few rests occur here, one determines which voice continues meanwhile, and then writes down the tones o f this voice also until the first voice recommences. In this manner the whole melody which the ear perceives in hearing a piece is written down and then examined to see whether the piece is melodic throughout; whether the initial melody is well connected with what follows; whether the caesuras are an even number o f measures apart; whether the modulations into other keys are found to be in agreement with nature; and also whether something strange and unexpected is present; and then, whether the entire melody is animated, that is to say, it also contains something pleasant, affecting, and lively, [318] or whether it is quite

207 See n. 195.208 A s w ith simple fugue, Daube’s episodes may contain either new material (free fugue) or derived material (strict

fugue). See nn. 139 and 144. For more on melodic continuity see the remainder o f the paragraph and n. 175.

209 i.e., stretto.

2,0 See p. 207.


sleepy, inactive, and dragging. W e are sure that no one w ill regret this examination.211 One w ill very soon discover what needs to be improved, and this improvement can often be made by a small change o f one or several tones. Short quarter or eighth rests are not included with the intention that they should be filled in. W hen they are located in the right place, they help to promote the good continuity o f the melody. If the melody is good, it w ill inevitably be made even better through the subsequent addition o f the other voices (Harmonie).

N ow it is time to speak of another invention o f antiquity, with regard to the most artificial double fugues. The common type would be that in which one voice tries to imitate the melody of the other in inversion. This type is divided into two parts, in the first of which the melody of the second voice enters, inverted, to be sure, but not in the same chords as the first voice [Example 224].212

J> - m P - —1 n

Ex. 224

■p ■ 1 r f r r = m * —1 u \ r m = A - M U . r=|r ! fr 1 -.j — j.— |

s

j

I

1

Here, o f course, the size o f the upward leaps in the first voice has been heeded by the bass, so that the same size has been retained in the descending intervals, but the chords o f the first voice have not been retained in the second voice. This type is easy to construct. One merely observes where the tones of the initial voice proceed into the high or low register, and keeps exactly the opposite in the second voice. Just as here the first voice ascends a third by steps, [319] so the second voice descends the same number of steps. In the first measure the first voice drops a third, in return for which the second voice ascends a third. W e have already said something about this above. The other type is more natural. The inverted second voice retains all the chords from which the first voice was taken [Example 225].213

211 O f the five criteria listed by Daube, three pertain directly to melody and the galant idea that the ear is led by the upper

m ost voice, notwithstanding the presumed equality o f all voices in the fugal style (see n. 115). The other tw o criteria

pertain to the use o f closely related, “ natural” keys customary in fugues o f the period (see n. 140), and to symmetrical

phrase divisions, not form erly characteristic o f fugue, but frequently applied to it as fugal imitation was incorporated

into other genres. See pp. 9 7-8 and 186-7 and nn. 117 and 143.

2,2 Real melodic inversion w ithout accidentals.

213 Tonal melodic inversion w ith adjustments o f numerical intervals as in fugue.

Double fugue 257

Ex. 225

j _____________________________

b 1 1 11

M ' t t i r r r r ir - ^

Only the F-sharp, at the conclusion of the bass in the sixth measure, does not agree here with the first voice, with respect to the similarity of the chords. In the third measure, the upper voice has a leap of a third, but the bass has a descent of only a second, because the [required] similarity of chords allowed no other arrangement. The half step at the conclusion of the first voice is also found in the bass at this point.

This is the proper type o f inversion, which formerly was highly esteemed by the Italians.214 For the construction of such uncommon double fugues, one should contrive a theme which is free of many large leaps and falls. The more stepwise tones and small leaps the melody contains, the more suitable it w ill be for this purpose. Then one simply takes care that these same steps and leaps are introduced inverted according to the foregoing description. W hen one voice ascends a third, fourth, or fifth, the second voice must fall a third, fourth, or fifth in return. Where the upper voice has whole or half steps, the second voice likewise must have [320] whole or half steps in the subsequent inversion. If one w ill observe this little rule, no difficulties w ill ensue. The crab-like double counterpoint also may be included in this type. It is formed when the second voice

proceeds backwards from the end [Example 226].215

Ex. 226

214 Daube’s concept o f fugue also shows the influence o f Italian models in its simultaneous presentation o f multiple fugue

themes (see n. 195), and its use o f contrasting episodic material (see nn. 139 and 208).

215 See pp. 171-2.


Here one sees that the bass carries the melody of the first voice backwards, just as the melody o f the upper voice begins with its ending. Instruction in this type seems to be superfluous. This example will suffice to demonstrate it clearly. However, it is even better if such a theme is arranged so that the bass can enter immediately after the first voice begins [Example 227].

Ex. 227

Such a theme can pass for tw o different melodies in the middle o f a fugue, if one changes the long note [321] at the beginning o f the bass into a short note, as here, and replaces what is missing with rests. In this way opportunity is provided for the two voices to enter successively. The conclusion o f the upper voice in the penultimate example can also be C , and this same tone can be taken for the beginning o f the bass. The rules pertaining to w orking out this type have been indicated above.

These unusual fugue subjects are prepared so that, for the most part, the second voice commences at the end o f the first voice. Therefore if the second voice begins to invert the theme of the first voice after one measure o f rest, another species is produced in which the two voices can commence either at the unison, at the octave, or the one at the octave and the other at the fifth, provided only that the inversion o f the melody o f the first voice is introduced well by the second voice [Example 228].

Ex. 228

In this example all the intervals in both voices are observed most strictly. The falls or leaps in the second voice are the same size as in the first voice. Even the chords have been taken into account as much as possible. Those fugue subjects in which the voices enter successively at the octave or at the unison are constructed in this same manner.

This and the two foregoing types are to be used whenever fugues are wanted. The melody o f the initial m otif [322] can be prepared as desired. One has every liberty.216

2,6 See nn. 188 and 194.

Double fugue 259

W e have indicated how to construct the countermelody for it. In working out these tw o melodic motives one w ill find the mistakes to be improved upon. Counterpoint at the octave is well suited to this also. A ll kinds o f agreeable combinations, or short episodic melodies can be introduced here.

Another artificial type o f double fugue was customary among the ancients. The second voice would rest a quarter and then state the first tone of the upper voice and, after resting another quarter, would imitate the second tone, proceeding continually in this way with the alternation o f a tone from the upper voice and a rest. This type again comprised different classes. The second voice would follow at the unison, at the octave, or at the fourth, fifth, or sixth. One sees that, with this constraint, the upper voice could seldom be very melodious, since one was obliged to arrange the continuation o f its melody solely according to the imitation o f the second voice [Examples 229 -31].217

Ex. 229

Ex. 230

Ex. 231

One sees that fifths and dissonances can also take place in this type. Because o f the rest, the fifth, as well as the unbound fourth which results from its inversion, may appear. In the process o f constructing all three examples, one writes only a quarter in [324] the upper voice and then, after a quarter rest, puts this same tone into the second voice.

217 T he result is an augmentation canon combined w ith hocket technique. E x . 230: the bass key signature has one flat in

the original.


After this one sets the second quarter note in the first voice and the theme is continued in this way until the end. The interval o f imitation may be the octave, third, or another

interval. If running passages should occur in the upper voice, they are arranged so that the second voice, after the quarter rest in each case, could continue with the tone o f its preceding melody even during the passagework, as is shown in the third measure of the first and third examples. The second voice could also introduce the leaps and falls o f the first voice in inversion, and the rests would still be incorporated [Example 232].

Ex. 232

The melodic line is borrowed from the first example above [Example 229], and yet it includes the inverted repetition.218 We preferred to use it here so that one will see that different types or imitations can often be introduced with a fixed melody. In examining all o f these species, one w ill certainly always find that the simplest melodies are far more capable of imitation and variation than the artificial ones. Noble simplicity is not excluded even from composition. Most pleasing melodies are based upon this [quality]. Likewise, most o f the passions are represented by simple means.219

[325] The third unusual type o f double fugue was that in which the second voice imitated the melody o f the first voice twice as slowly or twice as fast. This type is further divided into two classes. In the first, the intervals are imitated as precisely as possible, whereas in the second, they are introduced in inversion. These imitations [i.e., answers] can occur at the octave, fifth, and fourth [Example 233 1—c].

Ex. 233

2,8 i.e., melodic inversion.

219 Daube advocates simplicity as a quality o f nature throughout his free-style discussions. Here it is a practical considera

tion as well as an aesthetic preference. M arpurg similarly notes that “ the larger the number o f voices in a fugue, the

less florid the counterpoints should be. I f one voice is w ritten in a highly ornate style, the other would necessarily

become a mere filling voice. Yet in the fugue, all voices should compete on the same level” (Abhandlung, vol. I (1753),

p. 149 , Eng. trans. in M ann, Fugue, p. 201). The fact that “ noble simplicity is not excluded even from composition”

refers to Daube’s belief that the arts are united through their relationship to the qualities o f nature. See n. 52.

Ex. 233<j-c (cont.)

(b) At the fourth

Double fugue 261

pa,, r r , r,rj r r t or r — J j ~p----------

r 1* ~ r E=j

(c) At the fifthi p p r f f |*p>

if r r [ j ir J - j u =u

m r f 9 rn —■ ■■ f +-m------ 1

.. . , , r r r , r r r

b1 HCjlt r r m

Here one sees the three imitations. To construct them one must especially contrive a theme composed o f rapid intervals, half or three quarters of a measure [in length], which then is written down. Next, after a half or three quarters of a measure rest, it is written in the second voice in tones twice as long. Above these slow intervals one puts a rapid melody, o f which a half measure again is given to the second voice, in tones twice as slow, and so one proceeds to write the voices alternately until the end. The close, or even the [last] half o f the penultimate measure permits an exception, in view of the lower, slowly moving imitation, just as is found here. In the second and third examples the upper voice must be arranged so that its melody can be a fourth or fifth lower in the second voice, and still harmonize with the first voice. If the upper voice cannot remain in the same key because its melody is transposed in the second voice, the original key must none the less be observed again at the close. The second example demonstrates this. In the third [example] both voices remain together in one key until the end.

The second class of these double fugues is that in which the second voice introduces the melody o f the first inverted and in long tones [Example 234].

Ex. 234


The initial melody is imitated inverted by the second voice until the third quarter of the fourth measure. A ll o f the leaps, falls, and steps have been imitated most strictly in the inversion. The [process of] construction is similar to the foregoing, except that the half measure of the upper voice appears in its inversion in such a way that the size of the leaps in the first voice is retained most strictly in the second voice by means of falls which are exactly as large. In this example the beginning o f the first voice shows such a leap up a third, which is imitated by the drop of a third.

The type in which two different melodic motives could be inverted simultaneously during the course o f the fugue was also considered very artificial [Example 235a—fe]-220 The following rules were given for the construction of this type:

(1) Fifths and syncopated dissonances must be avoided.(2) Two successive sixths are permitted, but not two successive thirds.

(a)

Ex. 235

, r f » i>— w j r - p .

= £ = ft 1 r f n t f r f I p

s

(b)

p • f

I L L I T r f _ r

p r r u J r - lfr r 1.1-

— r m r r t r • ? .....s — . r. . (1 T r r t _ L L

The third measure presents a tie despite the rule. If one wanted to construct such an example without these rules, one would write down one measure o f a theme and to this at once the inversion. Then one would set the second voice to the proper beginning, as well as to the inversion o f the upper voice, but so that the beginning o f the second voice is then also written in inversion. One thus w ill soon see what must be changed in the inversion. This type also can be repeated or imitated at the fourth or fifth. In this case the repetition must be written first, followed by the inversion o f both voices.221 W hen the second voice undertakes the imitation at the fourth, and both voices subsequently are to be inverted, the upper voice must commence an octave above the initial tone o f the second voice, while the second voice is given the initial tone o f the first voice [Example 236 1—fe],

220 E x. 2350: the tie is m issing in the original.

221 Daube’s procedures “ w ithout these rules” recall his instructions for canonic w riting, Chapter 9.

Double fugue 263

Ex. 236

(»)

i j f H J ■ ■ 1 - r 1E i f = ' J J t P ~ = f = J

p * J r 1 r c j 1 J J I f — ^

fJ _

------- D

■ r j--------------1---------------|------------------------------------------- H

[329] However if the upper voice is to be inverted in its initial key, the second voice, which previously was a fourth lower, must descend another tone, and thus be set at the fifth and inverted.

Whoever enjoys working things out in this way might always want to construct these unusual fugue subjects. Even with this work he nevertheless would find a reason to wonder at the multifariousness and richness of harmony and melody. Many a beautiful melody, which he perhaps might not have found in any other way, would thereby fall into his hands, as it were. For, from where does the multifariousness o f melody come? From the art o f variation. What are all o f the melodies which already are in the world, and are yet to come? Nothing other than simple variations, inversions, the decreasing and increasing of the note values o f the twelve tones o f an octave, and the higher or lower placement of them. But everything proceeds from the first, namely, from variation.222 One might review page 143. The harmony also displays this richness. From where do so many different harmonies arise? From the retardation and anticipation o f one or more intervals o f the three main chords.223 How do such different effects of the harmony in general originate? By the decreasing and increasing of the chord tones. The unison playing o f all kinds o f instruments makes a singular impression. How great and diverse an effect is produced by passages in thirds and sixths when performed on similar instruments of each type, then with dissimilar instruments o f all sorts, or with the accompaniment o f singing voices! The harmonic triad also has a special effect, and so likewise the inclusion o f other intervals. Four-part harmony creates yet another impression. And how great is the full harmony that is heard from many different instruments together! I f the three motions are considered, [it is found that] each one anew produces a separate

222 Com pare p. 6 o f Daube’s Anleitung zur Erfmdung der Melodie (1797/98). See n. 87.

223 See “ Daube’s harmonic system” in the Introduction, pp. 19 -2 1.


effect.224 We have just cited the first two o f these here, namely the passages in sixths and thirds that come under parallel motion, and the inclusion o f other intervals that produces contrary motion. Thus there remains oblique motion, which shows us its special, beautiful effect through art as well as nature. In the beginning o f this work we have clearly described these three motions, as well as the foregoing, about the effect o f the harmony.

[330] Here, in conclusion, we still must discuss the most artificial type o f the unusual fugue subjects o f our forefathers. In this type one could invert the counterpoint four times. I f the [voice] exchange is added, eight variations are produced [Example 237a-h]. The following rules pertain to the construction o f this type:

(1) The fifth must be entirely avoided.(2) N o ties nor dissonances must occur.(3) Likewise, no single passing tone should be dissonant.

Ex. 237

(a)

m > U £ r 1 r r e l l s 1

V

0 f

Ll LI e!=n = —

Retrograde

ht lx / r r 1r r [Xj r ir r ^f r 1f f f f r r r r r r tr r r 1 1

224 T he topic o f textural variety has run like a theme and variations throughout Daube’s w ork. His repeated references to

“ effect” suggest the contemporaneous Wirkungsasthetik, which emphasized the effect of, rather than the theory

behind, a w ork o f literature, art, or music. (See Wiinsch, “ W irkung und Rezeption,” in Reallexikoti, vol. IV,

pp. 894-919.) T his concept corroborates Daube’s emphasis on “ the ear,” and recalls that the term ‘‘aesthetic” -

the science o f sense perception - had been introduced by A . G . Baumgarten in 1735 (Wellek, Modem Criticism,

vol. I ll , p. 144).

(d)

$

Double fugue

Ex. 2370-/1 (cont.)

Voice-exchange

265

r 1 r r r r p = p

r n . j j

(e ) Retrograde

J J J J

(&) Retrograde

Here are eight different modifications. W hen a good theme is contrived, even this artificial type can be used to advantage. In former times it was the most highly esteemed art and masterwork. From this one sees how much the ancients endeavored to discover through art that which they perhaps did not believe to be found in nature - we mean


melody. They tried to obtain the continuation o f their melody in the ways described here.225 Therefore, although such a piece was worked out by means o f art, it surely could hardly have given the listeners as much pleasure, and was even less likely to produce the effect that one finds nowadays. However, one thing is certain: that i f we combine the art o f the old music with the grace and natural beauty o f the present music, the two together can achieve a perfection to which must be counted principally the representation o f the passions. We do not need to discard the old, but rather only to strive to improve it.226 The fugue and the fixed melody (cantus firmus) were the main occupations o f the ancient composers. We, on the other hand, have free imitation and transposition o f the main and secondary motives o f a melody. Their fugue consisted o f nothing but art, in view o f their theoretically proper entrances, as well as in the modification o f the main melody itself. Ours admits o f no constraint; it is fond o f [both] nature and art. Their melody was simple, and furnished with few differing note values. Ours consists o f many diverse note values, and the little leaps are filled out far more than they were formerly. Moreover, there are also the short ornaments, appoggiaturas, various kinds o f trills, the forte and piano, the alternation o f different instruments, etc. All o f this makes our present music very distinct from that o f the ancients. Poetry, above all, has contributed to this and, with the advent o f opera, has fallen into the good hands o f the opera composers. H ow much a good text assists in the invention o f melody, indeed, how it even contributes to the felicitous continuation o f a [333] good melody, is best known by experienced opera composers. The effect which poetry produced on music among the Greeks, which in turn was conducive to the former, still is achieved by both arts even today, and probably to a far higher degree. We find that with the improvement o f opera and the increase o f Singspiel, music has improved to the same degree, particularly the melody, in which poetry has always played the greatest part. This certainly was the guiding principle by which composers constructed their arias etc., and which in that way has contributed so much to the invention o f melody. Indeed, even now it is poetry which very often offers to us the most beautiful thoughts, and in such a way that they seem to appear at just the right moment. Even texts that are designed for choirs, i f they are ingeniously composed, can provide the best plan for the construction o f a good symphony. However, i f everything that has been said is to be done, the poetry itself must first be well written, full of harmony, and already o f a melodious nature, for which many a poet does not have the inclination. For if the poet does not understand music, or at least does not have a good concept o f this science, he certainly cannot help the composer.

In concluding this treatise we wish the sympathetic reader and friend o f music to be satisfied with our work. We have done what we could. At least we can say that we spared no time nor effort, and avoided no wearisome work in order to seek out, to investigate and, through a considerable span o f years, to test everything which we have explained in

225 See p. 213 and nn. 172 and 186.

226 One o f Daube’s guiding principles is the value and beauty o f com bining styles, although he holds the optimistic.

Enlightenment view that the free style o f the “ moderns” is more “ natural,” and therefore superior to the rule-bound

style o f the “ ancients.” See the Introduction pp. 18 -19 and 27-30 . Com pare pp. 69 and 243.

267

this book. We request that impartial readers might choose to compare our system with other musical writings and to examine them without prejudice. If this is done, we are sure that you w ill not condemn the publication o f this work. Even though we might not have described everything clearly, a little reflection and practice exercise will still compensate for that deficiency. I f perchance we have omitted something, it shall be supplied in the future.227 We extend our wish even to [the possibility] that everything presented here may prove to be valuable and enjoyable, that the growth o f music may be furthered thereby, and that a most agreeable relief from daily work may be provided by the purest pleasure in music.

227 i.e., in a future volume o f the Dilettant series. See the Introduction, pp. 10 -17 .

268

BIBLIOGRAPHY

Abert, Hermann. Niccolo Jomelli a Is Opemkomponist. Halle: Max Niemeyer, 1908 Adelung, Johann Christoph. Grammatisch-Kntisches IVorterbuch der Hochdeutschen Mundart. Leipzig:

J. G. I. Breitkopf, Sohn und Compagnie, 1796 Adlung, Jacob. Anleitung zu der musikalischett Gelehrtheit. Erfurt: J. D. Jungnicol, 1758; facs. edn.,

Haus Joachim Moser. Kassel: Barenreiter, 1953 Aldrich, Putnam. “Appoggiatura.” In The Harvard Dictionary of Music, 2nd edn., ed. Willi Apel.

Cambridge, MA: The Belknap Press of Harvard University Press, 1969. Pp. 43-6 Anderson, Emily. Letters of Mozart and his Family, 3rd edn. New York: W. W. Norton & Co., 1985 Aristotle. “ On Education.” In Aristotle: Selections. Tr. Philip Wheelwright. New York: The

Odyssey Press, 1951. Pp. 285-7 Bach, Carl Philipp Emanuel. Versuch fiber die wahreArt das Clavier zu spielen, 2nd edn. Berlin: G. L.

Winter, 1759. 1st edn. tr. and ed. William J. Mitchell as Essay on the True Art of Playing Keyboard Instruments (1752). New York: W. W. Norton and Co., Inc., 1949

Batteux, Charles. Les beaux arts reduits a un meme principe. Paris: Durand, 1746; rpt. New York and London: Johnson Reprint Corp., 1970

Bauer, W. A. and O. E. Deutsch, eds. Mozart: Briefe und Aufzeichnungen. Kassel: Barenreiter, 1962-75

Becker, Carl Ferdinand. Systematisch-chronologische Darstellung der musikalischen Literatur. Leipzig: Verlag von Robert Friese, 1836-9; rpt. Amsterdam: Knuf, 1964

Becker, Carl L. The Heavenly City of the Eighteenth-Century Philosophers. New Haven: Yale University Press, 1932; rpt. 1963

Benary, Peter. Die deutsche Kompositionslehre des 18. Jahrhunderts. Leipzig: Breitkopf & Hartel, [1961] Bononcini, Giovanni Maria. Musico prattico. Bologna: G. Monti, 1673; rpt. New York: Broude

Brothers Limited, 1969Breitkopf Thematic Catalogue, 1762-1787, ed. Barry S. Brook. Rpt. of Catalogo delle Sinfonie.

New York: Dover Publications, Inc., 1966 Brossard, Sebastien de. Dictionnaire de musique. Paris: Ballard, 1703. Tr. Albion Gruber as Dictionary

of Music. Henryville, PA: Institute of Mediaeval Music, c. 1982 Buelow, George. “ Daube.” In The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie.

London: Macmillan, 1980. Vol. V, p. 253 Burney, Charles. Dr. Burney’s Musical Tours in Europe, ed. Percy A. Scholes. 2 vols. London: Oxford

University Press, 1959“ Essay on Musical Criticism.” In A General History of Music from the Earliest Ages to the Present

Time. Vol. Ill (of 4). 2nd edn. London: printed for the author, 1789. Pp. vii-xi “ Essay on Musical Criticism.” In A General History of Music from the Earliest Ages to the Present

Period. Vol. II (of 2), ed. Frank Mercer. London, 1789; rpt. New York: Dover Publications, 1957. Pp. 7-11

The Present State of Music in Germany, the Netherlands, and the United Provinces. Vol. I. 2nd edn. London: printed for Becket, et al., 1775

Bibliography 269

Tagebuch einer Musikalischett Reise durch Frankreich und Italien. Tr. E. D. Ebeling. Hamburg: Bode, 1772; facs. edn., Richard Schaal. Kassel: Barenreiter, 1959

Carse, Adam. The History of Orchestration. London: Kegan Paul, Trench, Trubner and Company, Ltd., 1925; rev. edn. New York: Dover Publications, Inc., 1964

The Orchestra in the XVIIIth Century. Cambridge: W. Heffer and Sons, Ltd., 1940 Chedeville, Esprit Philippe. Sechs Galante Duos fur zwei gleiche Melodieinstrumente, besonders

Alt-Blockfloten. Hortus Musicus, No. 199, ed. Arthur von Arx. Kassel, Basle, Tours, London: B3renreiter, 1969

Cloeter, Hermine. Johann Thomas Trattner, ein Grossuntemehmer im Theresianischen Wien. Graz: H. Bohlaus Nachf., 1952

Cockshoot, John V. The Fugue in Beethoven’s Piano Music. London: Routledge and Kegan Paul, 1959

Corte, Andrea della and G. M. Gatti. Dizionario di musica. Torino: G. B. Paravia e C., 1930 Dahlhaus, Carl. “ Der Dilettant und der Banause in der Musikgeschichte.” Archiv far Musikwissen-

schaft X X V (1968), 157-72 Daube, Johann Friedrich. Anleitung zur Erfindung der Melodie und ihrer Fortsetzung. Vienna: Taubel,

1797/98Beweis, iajl die gottesdienstliche Musik. Vienna: Joh. Ferd. Edlen von Schonfeld, 1782 General-Baji in drey Accorden. Leipzig: J. B. Andra, 1756; facs. edn. Eitelfriedrich Thom. Michael-

stein [1984]. Tr. Barbara K. Wallace as “J. F. Daube’s ‘General-BaB in drey Accorden’ (1756): A Translation and Commentary.” Ph. D. diss., North Texas State University, 1983

Der Musikalische Dilettant: eine Abhandlung der Komposition. Vienna: von Trattner, 1773 “ Sonata in F fur Cembalo.” Oeuvres melees contenant VI. sonates pour le clavecin de tant de plus

celebres compositeurs. Pt. XI. Nurnberg: Haffner, 1763 [See Lang and Newmann for excerpts and discussion]

“ Trio in D-Moll fur Laute, Flote (Violine) und Klavier,” ed. Hans Neemann. Berlin- Lichterfelde: Chr. Friedrich Vieweg, 1927

“ Trio a Liuto, Traverso e Basso in A minor.” Denkmaler der Tonkunst in Osterreich. Vol. LX X X V I (1967)

Deutsch, Otto Erich. “ Haydns Musikbucherei.” In Musik und Verlag. Kassel: B5renreiter, 1968. Pp. 220-21

Directory of Music Research Libraries, ed. Rita Benton. Iowa City: University of Iowa Press, 1970 Dittersdorf, Carl Ditters von. Autobiography. Tr. Arthur D. Coleridge. London: Richard Bentley

and Son, 1896; rpt. New York: Da Capo Press, 1970 Donington, Robert. The Interpretation of Early Music. London: Faber and Faber, 1963 Duckies, Vincent. “Johann Adam Hiller’s ‘Critical Prospectus for a Music Library’ .” In Studies in

Eighteenth-Century Music: A Tribute to Karl Geiringer on his Seventieth Birthday, ed. H. C. Robbins Landon and R . E. Chapman. New York and London: Oxford University Press, 1970. Pp. 177-85

Eitner, Robert. Biographisch-Bibliographisches Quellen-Lexikon. Vol. III. New York: Musurgia, 1947 Encyclopedia Britannica. “ Musick.” Vol. III. Edinburgh: Colin MacFarquhar, 1771 Fetis, Francois Joseph. Biographie universelle des musiciens. Paris: Librairie de Firmin-Didot et Cie.,

1883Fischer, Kurt von. “Arietta Variata.” In Studies in Eighteenth-Century Music: A Tribute to Karl

Geiringer on his Seventieth Birthday, ed. H. C. Robbins Landon and R . E. Chapman. New York and London: Oxford University Press, 1970. Pp. 224-35

Fischer, Wilhelm. “ Zur Entwicklungsgeschichte des Wiener klassischen Stils.” Studien zur Musik- wissenschaft III. Leipzig: Breitkopf & Hartel; Vienna: Artaria & Co. (1915), 24-84

Forkel, Johann Nikolaus. Allgemeine Litteratur der Musik. Leipzig: Schwickertschen Verlag, 1792; rpt. Hildesheim: Georg Olms. 1962

270 Bibliography

Musikalischer Almanack fur Deutschland auf das Jahr 1784. Leipzig: Schwickertschen Verlag, 1784 Framery, Nicolas Etienne and Pierre Louis Ginguene. Encyclopedic methodique, Musique. Paris:

Panckouche, 17 91 Frankfurter Anzeigen. Vol. V, 1774, S. 518Freystatter, Wilhelm. Die Musikalischen Zeitschriften. Amsterdam: Frits A. M. Knuf, 1963 Fricke, Gerhard. Geschichte der deutschen Dichtung. Hamburg and Lubeck: Matthiesen Verlag, 1961 Fux, Johann Joseph. Gradus ad Parnassum, Vienna, 1725; rpt. New York: Broude Bros., [1966].

Ger. tr. Loranz Mizler. Leipzig: Mizlerischen Bucherverlag, 1742; rpt. Hildesheim: Georg Olms, 1974. Partial Eng. tr. Alfred Mann as Steps to Parnassus, the Study of Counterpoint. New York: W. W. Norton and Co., 1943; rev. edn. as The Study of Counterpoint. New York: W. W. Norton and Co., Inc., 1965

Galeazzi, Francesco. Elementi teorico-pratici di musica. Vol. II. Rome: Puccinelli, 1796 Geiringer, Karl. “ The Rise of Chamber Music.” In The Age of the Enlightenment, 1745-1790.

The Oxford History of Music. Vol. VII. London: Oxford University Press, 1973 Das gelehrte Osterreich, ed. Ignaz de Luca. Vienna: von Ghelen, 1776-8Das gelehrte Teutschland, ed. Georg Christoph Hamberger und Johann Georg Meusel. Vol. II.

Lemgo, 1796; rpt. Hildesheim: Georg Olms, 1965 Gerber, Ernst Ludwig. “ Eine freundliche Vorstellung uber gearbeitete Instrumentalmusik,

besonders uber Symphonien.” Allgemeine musikalische Zeitung X V (1813), cols. 457-63 Historisch-Biographisches Lexikon der Tonkiinstler. 2 vols. Leipzig: Breitkopf, 1790-92, and Neues

Historisch-Biographisches Lexikon der Tonkiinstler. 4 vols, Leipzig: Kuhnel, 1812-14, ed. Othmar Wesseley. Graz: Akademische Druck u. Verlagsanstalt, 1966-77

Gericke, Hannelore. Der Wiener Musikalienhandel von 1770-1778. Graz and Cologne: Hermann Boehlaus Nachf., i960

Hickman, Roger. “ The Flowering of the Viennese String Quartet in the Late Eighteenth Centry.” The Music Review L / 3-4 (1989), 157-80

“Leopold Kozeluch and the Viennese Quatuor Concertant." College Music Symposium X XV I (1986), 42-52

Hadow, W. H. The Viennese Period. The Oxford History of Music. Vol. V. Oxford: Clarendon Press, 1904

Hanning, Barbara R . “ Conversation and Musical Style in the Late Eighteenth-Century Parisian Salon.” Eighteenth-Century Studies X X II/4 (1989), 512-28

Hanslick, Eduard. Geschichte des Concertwesens in Wien. Vienna: Wilhelm Braumuller, 1869; rpt.Westmead: Gregg International, 1971; New York: Georg Olms, 1979

Helm, Ernest Eugene. Music at the Court of Frederick the Great. Norman: University of Oklahoma Press, i960

Hickman, Roger. “ Leopold Kozeluch and the Viennese Quatuor Concertant.” College Music Symposium X X V I (1986), 42-52

Hill, George R . “ Haydn’s Musical Clocks and their Implications for Late Eighteenth-Century Performance Practice.” Senior Honors Project, Stanford University, 1965

Hiller, Johann Adam. WSchentliche Musikalische Nachrichten und Anmerkungen. 4 vols. Leipzig: Verlag der Zeitungs-Expedition, 1766-70; rpt. Hildesheim and New York: Georg Olms, c. 1970

Horsley, Imogene. Fugue: History and Practice. New York: The Free Press, A Division of The Macmillan Company, 1966

Kahl, Willi. Selbstbiographien Deutscher Musiker des XVIII. Jahrhunderts. Cologne, 1948; rpt.Amsterdam: Frits Knuf, Staufen-Verlag, 1972

Kaiserlich Konigliche allergnSdigst-priviligirte Anzeigen, aus sammtlich-kaiserlich-koniglichen ErblSndem.Vol. Ill, No. 48 (Dec 1) and No. 50 (Dec 15). Vienna, 1773

Kaiserlich KSnigliche allergnSdigst-privilegirte Realzeitung der Wissenschaften, Kunste und der Kommer- zien. Vienna: Joseph Kurtzbock. Vol. II, No. 11 (11 March 1771), 177-8

Karbaum, Michael. “ Das theoretische Werk Johann Friedrich Daubes: der Theoretiker J. F.

Bibliography 271

Daube: ein Beitrag zur Kompositionslehre des 18. Jahrhunderts.” Diss., University of Vienna, 1968

Katalog des Augsburger Verlegers Lotter von 1753, ed. Adolf Layer. Vol. II of Catalogus Musicus. Kassel: Internationale Vereinigung der Musikbibliotheken; Internationale Gesellschaft fur Musikwis- senschaft, 1964

Kirchner, Joachim. Die Grundlage des deutschen Zeitschriftenwesens . . . bis 1790. 2 vols. Leipzig: Verlag Karl W. Hiersemann, 1928-31

Kirkendale, Warren. Fuge und Fugato in der Kammermusik des Rokoko und der Klassik. Tutzing: Hans Schneider, 1966

Fugue and Fugato in Rococo and Classical Chamber Music, 2nd rev. edn. Tr. Margaret Bent and the author. Durham, N. C.: Duke University Press, 1979

Kirnberger, Johann Philipp. Die Kunst des reinen Satzes in der Musik. Berlin and Konigsberg: Decker und Hartung. Vol. I, 1771; Vol. II, 1776-9; rpt. Hildesheim: Georg Olms, 1968. Tr. David Beach and Jurgen Thym as The Art of Strict Musical Composition. New Haven and London: Yale University Press, 1982

Recueil d’airs de danse caractbistiques. Pt. I. Berlin: J . J. Hummel, [1777]Koch, Heinrich Christoph. Musikalisches Lexicon. Frankfurt am Main: 1802; rpt. Hildesheim:

Georg Olms, 1964Virsuch einer Anleitung zur Composition. Pt. 3. Rudolstadt and Leipzig: Adam Friedrich Bohme,

1782, 1787, and 1793; rpt. Hildesheim: Georg Olms, 1969. Partial tr. Nancy Kovaleff Baker as Introductory Essay on Composition. Pt. 2, Sections 3 and 4. New Haven and London: Yale University Press, 1983

Kollmann, August Friedrich Christoph. An Essay on Practical Musical Composition. London: Selbst- verlag, 1799; republished with a foreword by Imogene Horsley. New York: Da Capo Press, 1973

Landon, H. C. Robbins. Haydn. New York: Praeger Publishers, 1972 Lang, Paul Henry. Music in Western Civilization. New York: W. W. Norton, 1969 Lange, Martin. Beitrage zur Entstehung der siidwestdeutschen Klaviersonate im 18. Jahrhundert. Giessen:

Laukwitzer Anzeiger, 1930 LaRue, Jan. “ Symphony, I. 18th century.” The New Grove Dictionary of Music and Musicians, ed.

Stanley Sadie. London: Macmillan, 1980. Vol. XVIII. Pp. 438-53 Le Huray, Peter and James Day, eds. Music and Aesthetics in the Eighteenth and Early-Nineteenth

Centuries. Cambridge and New York: Cambridge University Press, 1981 Lemacher, Heinrich. Handbuch der Hausmusik. Graz: A. Pustet, 1948Lenneberg, Hans. “Johann Mattheson on Affect and Rhetoric in Music.” Journal of Music Theory

II/i (1958), 47- 84, and II/2 (1958), 193-236 Lenz, Wilhelm von. Beethoven, eine Kunststudie. Vol. V. Hamburg: Hoffmann & Campe, i860 Lessing, Gotthold Ephriam. SSmtliche Schriften. Vol. XIII. Leipzig: G. I. Goschen, 1897 Levy, Janet. “ The Quatuor Concertant in the Latter Half of the Eighteenth Century.” Ph. D.

diss., Stanford University, 1971 Lippman, Edward A., ed. Musical Aesthetics: A Historical Reader. Vol. I. New York: Fendragon

Press, 1986Lohlein, Georg Simon. Klavier-Schule, oder Kurze und griindliche Anweisung zur Melodie und

Harmonie. Leipzig and Zullichau: auf Kosten der Waisenhaus- und Frommanischen Buch- handlung, 1765

Lovejoy, Arthur O. “ Plentitude and Sufficient Reason in Leibniz and Spinoza.” In The Great Chain of Being: A Study of the History of an Idea. New York: Harper and Row, Publishers, 1936; rpt. i960. Pp. 144-82

Mann, Alfred. The Study of Fugue, rev. edn. New York: W. W. Norton and Co., Inc., 1965 Marcello, Benedetto. “ II teatro alia moda,” Tr. Reinhard G. Pauly. The Musical Quarterly

X X X IV /3 (1948), 371-403, XXV /i (1949). 85-105 Marpurg, Friedrich Wilhelm. Abhandlung von der Fuge. 2 vols. Berlin: A. Haude und J. C. Spener,

1753, 1754; rpt. New York and Hildesheim: Georg Olms, 1970

272 Bibliography

Historisch-kritische BeytrSge zur Aufnahme der Musik. 5 vols. Berlin: G. A. Lang, 1754-78; rpt. Hildesheim: Georg Olms, 1970

Martini, Giambattista. Esemplare 0 sia saggio fondamentale pratico di contrappunto. 2 vols. Bologna: 1774-5; rpt. Ridgewood, NJ: Gregg Press, Inc., 1965

Mattheson, Johann. Der vollkommene Capellmeister. Hamburg: Christian Gerold, 1739; rpt. Kassel and Basle: Barenreiter-Verlag, 1954. Tr. Ernest C. Harriss. Ann Arbor: UMI Research Press, 1981

McCredie, Andrew D. “ Instrumentarium and Instrumentation in the North German Baroque Opera.” Diss., University of Hamburg, 1964

Mennicke, Carl Heinrich. Hasse und die Bruder Graun als Symphoniker. Leipzig: Breitkopf & H5rtel, 1906

Meusel, Johann Georg. Lexicon der vom Jahr ijs o bis 1800 verstorbenen teutschen Schriftsteller. Vol. II.Leipzig: 1803; rpt. Hildesheim: Georg Olms Verlagsbuchhandlung, 1967

Miesner, Heinrich. “ Portraits aus dem Kreise Philipp Emanuel und Wilhelm Friedemann Bachs.” In Musik und Bild, Festschrift Max Seiffert zum siebzigsten Geburtstag. Kassel: Barenreiter Verlag, 1938. Pp. 101-16

Momigny, Jerome-Joseph de. Cours complet d’harmonie et de composition. Paris: chez l’auteur, 1803-06

Morigi, Angelo. Trattato di contrapunto fugato, 4th edn., pubblicato da B. Asioli, Milan: Ricordi, c. 1807

Mozart, Leopold. Versuch einer Griindlichen Violinschule, 3rd edn. Augsburg: Lotter, 1789 [i.e. 1787]; rpt. Wiesbaden: Breitkopf & Hartel, 1983. Tr. Editha Knocker, with Preface by Alfred Einstein as A Treatise on the Fundamental Principles of Violin Playing, 2nd edn. London: Oxford University Press, 1951

Mozart, Wolfgang Amadeus. Neue Ausgabe sSmtlicher Werke III/10 (1974). Kassel: Barenreiter, [I955-]

Nalden, Charles. Fugal Answer. London: Oxford University Press, 1970Neemann, Hans, ed. “ Trio in D-Moll fur Laute, Fl5te (Violine) und Klavier.” In “Alte Haus- und

Kammermusik mit Laute.” Berlin-Lichterfelde: Chr. Friedrich Vieweg, 1927 Newman, William S. The Sonata in the Classic Era. Chapel Hill: University of North Carolina

Press, 1963Petri, Johann Samuel. Anleitung zur praktischen Musik, 2nd edn. Leipzig: Breitkopf, 1782; rpt.

Giebing uber Prien am Chiemsee: E. Katzbichler, 1969 Pla, Juan Bautista. Sechs Sonaten fur zwei Oboen. Mainz: Schott Edition 5898, 1969 Pohlmann, Ernst. Laute, Theorbe, Chitarrone. Lilienthal and Bremen: Edition Eres, 1975 Portheimische Zettelkatalog. Stadtsbibliothek Vienna. Entry 464Portmann, Johann Gottlieb. Leichtes Lehrbuch der Harmonie, Composition und des Generalbasses.

Darmstadt: J. J . Will, 1789 Powell, Newman W. “ Early Keyboard Fingering and its Effect on Articulation.” MA thesis,

Stanford University, 1954 Prout, Ebenezer. Fugue. London: Augener, Ltd., 1891; rpt. New York: Greenwood Press, 1969 Quantz, Johann Joachim. Sechs Duette fUr zwei FlSten, op. 2, ed. Georg Muller. Wiesbaden: Breit

kopf & Hartel, i960Versuch einer Anweisung die FlSte traversiere zu spielen. Berlin, 1752, with foreword and annota

tions by Arnold Schering. Leipzig: C. F. Kahnt Nachfolger, 1906. Tr. Edward R . Reilly as On Playing the Flute, 2nd edn. New York: Schirmer Books, 1985

Rameau, Jean-Philippe. Demonstration du principe de I’harmonie. Paris: Durand et Pisot, 1750 Generation harmonique. Paris: Prault, 1737; facs. edn. in The Complete Theoretical Writings of Jean-

Philippe Rameau, ed. Erwin R . Jacobi (n.p.: American Institute of Musicology, 1967-72), vol. Ill (1968). Pp. 1-150. Tr. Deborah Hayes as Harmonic Generation. Ann Arbor: University Microfilms, 1974

Bibliography 273

Nouveau systeme de musique theorique. Paris: Ballard, 1726Traite de I’harmonie. Paris: Ballard, 1722; rpt. tr. and ed. Philip Gossett as Treatise on Harmony.

New York: Dover Publications, Inc., 1971 Ratner, Leonard G. “Ars combinatorial Chance and Choice in Eighteenth-Century Music.”

In Studies in Eighteenth-Century Music: A Tribute to Karl Geiringer on his Seventieth Birthday, ed. H. C. Robbins Landon and R . E. Chapman. New York and London: Oxford University Press, 1970. Pp. 343-63

Classic Musk: Expression, Form, and Style. New York: Schirmer Books, 1980 “ Eighteenth-Century Theories of Musical Period Structure.” The Musical Quarterly XLII/4

(1956), 439-54Harmony, Structure and Style. San Francisco: McGraw-Hill, 1962

Recueils imprimes xviiie siicle, Vol. II of Repertoire International des sources musicales. Munich and Duisburg: G. Henle Verlag, 1964

Reicha, Antoine. Traite de haute composition musicale. 2 vols. Paris: Zetter & cie, 1824-26 Traite de melodie. Paris: Richault, 1814

Reichert, Georg. “ Daube.” Musik in Geschichte und Gegenwart. Vol. Ill, ed. Friedrich Blume.Kassel and Basle: Barenreiter-Verlag, 1949

Reinken, Jan Adams. Kompositionsregeln, MS 1670, ed H. Gehrmann in vol. X of Jan Pieterszoon Sweelinck’s IVerken. Leipzig: Breitkopf & Hartel, 1901

Riemann, Hugo. Geschichte der Musiktheorie im /X .-XIX. Jahrhundert. Berlin: Max Hesses Verlag, 1898

Riemann Musik Lexikon, ed. Wilibald Gurlitt. Mainz: B. Schott’s Sohne, 1889 Riepel, Joseph. Anfangsgriinde zur musikalischen Setzkunst. I: De rhythmopoeia, oder Von der Taktord-

nung. Regensburg and Vienna: J . J. Lotter, 1752; II: Grundregeln zur Tonordnung insgemein. Frankfurt and Leipzig: Ulm, printed by Ch. U. Wagner, 1755; III: Griindliche Erklarung der Tonordnung insbesondere, zugleich aber fur die mehresten Organisten insgemein. Frankfurt and Leipzig: n.p., 1757; IV: Erlauterung der betruglichen Tonordnung. Augsburg: Johann Jakob Lotter, 1765; V: Unentbehrliche Anmerkungen zum Kontrapunkt. Regensburg: Jacob Christian Krippner, 1768

Baf-schliissel, das ist, Anleitung fur Anfanger und Liebhaber der Setzkunst. Regensburg: J. L. Montags Erben, 1786 [Probably planned as another Capitel of the Anfangsgriinde, but published posthumously]

Rothschild, Germaine de. Luigi Boccherini, his Life and Work. Tr. Andreas Mayor. London: Oxford University Press, 1965

Rowen, Ruth Halle. Early Chamber Music. New York: Da Capo Press, 1974 Scheibe, Johann Adolph. Der Critische Musicus, 2nd edn. Leipzig: B. C. Breitkopf, 1745

“ Die Theorie der Melodie und Harmonie.” ist pt. of Uber die Musikalische Composition. Leipzig: Schwickert, 1773

Schubart, Christian Friedrich Daniel. Ideen zu einer Aesthetik der Tonkunst. Vienna: L. Schubart, 1806; rpt. Hildesheim: Georg Olms, 1969

Shirlaw, Matthew. The Theory of Harmony, 2nd edn. DeKalb, Illinois: Dr. Birchard Coar, 1955 Sittard, Josef. Zur Geschichte der Musik und des Theaters am Wiirttembergischen Hofe, 1458-1793.

Vol. II. Stuttgart: W. Kohlhammer, 1890; rpt. Hildesheim: Georg Olms, 1970 Smith, Preserved. A History of Modem Culture, Vol. II: The Enlightenment, 1687-1776. New York:

Henry Holt and Co., 1934 Strunk, Oliver. Source Readings in Music History. New York: W. W. Norton and Co., Inc., 1950 Sulzer, Johann Georg. Allgemeine Theorie der schSnen Kiinste. 2 vols. Leipzig: M. G. Weidemanns

Erben und Reich, 1771 and 1774 Telemann, Georg Philipp. Sechs kanonische Sonaten fur zwei Violinen. Peters Edition No. 4394 Thayer, Alexander Wheelock. The Life of Ludwig van Beethoven, ed. H. E. Krehbiel. 3 vols.

New York: The Beethoven Association, Press of G. Schirmer, 1921

274 Bibliography

Thouret, Georg. Friedrich der Grosse a Is Musik-Freund und Musiker. Leipzig: Breitkopf & Hartel, 1898

Trattner, Johann Thomas von. Catalogus der Joh. Thom, edlen u Trattnem . . . verlegten Bucher. Vienna, 1798

Turk, Daniel Gottlob. Klavierschule, oder Anweisung zum Klavierspielen. Leipzig and Halle: A. A. Heydeloff, 1789. Tr. Raymond H. Haggh as School of Clavier Playing. Lincoln and London: University of Nebraska Press, 1982

Twittenhoff, Wilhelm. Die musiktheoretischen Schriften Joseph Riepels (1709-1782) als Beispiel einer anschaulicher Musiklehre. Halle: Buchdruckerei des Waisenhauses G. m.b. H., 1934

Vogler, Georg Joseph. Tonwissenschaft und Tonsetzkunst. Mannheim: Kurfurstlichen Hofbuchdruck- erei, 1776; rpt. Hildesheim and New York: Georg Olms, 1970

Wason, Robert W. Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg. Ann Arbor: UMI Research Press, 1982 and 1985

Wellek, Rene. A History of Modem Criticism, i7$o-i9$o. Vol III. New Haven: Yale University Press, 1965

Wienerisches Diarium wn Stoats, vermischten und gelehrten Neuigkeiten. Vienna: Verlegt bey den von Ghelenschen Erben: Jan. 1773, Feb. 1774 and May 1775

“ Wirkung.” In IVSrterbuch der Literatur-Wissenschaft, ed. Claus Trager. Leipzig: VEB Bib- liographisches Institut, 1986

Wunsch, Marianne. “ Wirkung und Rezeption.” Reallexikon der deutschen Literaturgeschichte, ed.Klaus Kanzog and Achim Masser. 4 vols and index. Vol. IV. Berlin: Walter de Gruyter, 1984

Wurzbach, Constant von. Biographisches Lexikon des Kaiserthums Osterreich. Vol. III. Vienna 1858; rpt. New York: Johnson Reprint Corporation, 1966

275

INDEX

accidental (foreign tone, new or borrowed sharp, flat, natural) 22, 23, 29, 43, 60-62, 67, 75-82, 90, 102, 111-12, 118, 127, 135, 150, 155, 159-60, 170, 184, 192-7, 198, 211, 217, 226, 256 (see also

modulation)accompaniment (accompanying part or voices) 23,

24. 25, 35, 42, 58, 62, 69, 74-5, 78, 79, 81,109, 112, 114, 115-16, 117, 118, 127, 132, 136, 146, 154, 155, 157, 158-9, 160, 162, 168, 171, 172, 175-6, 177, 178, 180, 204, 206, 207, 211, 213, 214, 216, 228, 241, 251, 254, 263

adagio 48, 117, 119, 122, 136, 148 aesthetic 2, 21, 25, 30, 260, 264 (see also ear, effect,

and listener)affects (passions) 12, 14-15, 16, 19, 35, 37, 39, 41, 45,

83, 109, 126, 132, 229, 260, 266 Agricola, Johann Friedrich 2 aim (purpose) of music 19, 37, 48, 92, 94, 208, 266 Albrechtsberger, Johann Georg 8,14, 170 alia breve 28, 133, 195, 216 allegretto 165, 167allegro 24, 27, 65, 73, 82, 83, 89, 93, 95, 97,102,109,

112 (moderato) 115-16, (first), 117 (last), 120 (poco), 122 (poco), 125, 126 (first, last), 127, 128, 130, 145, 146, 166, 173, 177, 182, 188, 191, 193,194.195, 197, 202, 204, 209, 213, 229, 232, 252

amateur 2, 7, 11, 13, 17, 18, 19, 30 (see also dilettante) analysis 12, 47, 82, 115, 122, 140, 182, 194, 211, 212 ancients (forefathers) 27, 28, 29, 30, 42, 98, 122,158,

167, 168, 169, 171, 172, 180, 195, 208, 211, 212,215, 218, 227, 228, 231, 243, 244, 245, 252, 254,259, 264, 265, 266

andante (slow tempo) 26, 59 (poco), 61, 76, 99 (doke),

116, 117, 124, 126, 139, 143, 153, 154,155 answer (see under fugue, double; and fugue, simple) anticipation 19, 67-9, 77,176, 263 antiquity (former times) 4, 27, 39,168,179, 228, 245,

256, 265 (see also ancients and Baroque)

appoggiatura 22, 45, 50, 58, 60-62, 66, 67, 68-9, 75, 76, 82, 85, 87, 88, 90, 102, 107, 109, 121, 129, 135, 137, 139, 142, 143, 266

approval (praise) 26, 98,152,156,157, 231, 265 architecture 98aria 16, 26, 28, 29, 39,136,137,139,143, 207, 212-13,

228, 266 Italian 24,115 opera 28, 45, 97, 132, 186

Aristotle 18arpeggio 139, 207 (see also chord, broken) ars combinatoria 25, 26, 41, 75, 134 art(s) (artifice) 18, 21, 27, 29, 37, 40, 42, 43, 44, 87,

94. 97- 8, 126, 127, 139, 156, 157, 167, 170, 179, 212, 213, 228, 230, 243, 249

and nature combined 21, 26, 30, 45, 69, 86, 87, 88, 90, 98, 99,144, 208, 212, 228, 230, 260, 264, 265, 266

and nature (dichotomy of) 21, 42, 94, 157, 243 artificial 21, 27, 29, 30, 40, 41, 42, 44, 45, 51, 64,

69, 85, 86, 88,109,119,126,156,157,159,168, 171, 177, 208, 224, 232, 233, 250, 256, 260, 262, 264, 265 (see also style)

articulation 25, 38, 40, 61, 68, 102, 138, 207, 208 Auerhammer, Madam [Auernhammer, Josepha Bar

bara von] 8augmentation 30 (see also canon; and fugue, double) Augsburg 1, 4-5, 8, 11,12, 14, 16 Austria 6-9, 10, 16, 18 (see also Vienna) Austro-Hungarian Holy Roman Empire, court of

6-7auxiliary tone (see neighbor tones)

Bach, Carl Philipp Emanuel 1, 2, 4, 42, 50, 54, 125 Baron, Ernst Gottlieb 1, 2 Baroque 72 (see also ancients and antiquity) bass 8, 22, 26, 35, 38, 39, 40, 48-50, 51-2, 53-4, 5*5,

60, 61, 62, 63-9, 76, 82-3, 85, 98-9, 104, 107,

276 Index

bass (cont.)114, 115-16, 118-19, 123, 124, 125, 127, 128, 130, 132,137,140,144-5, 166,173,177,179, 211,243, 244, 247, 249, 251-3, 254

accompanying (non-imitative, thorough-bass foundation) 26, 47, 54, 99,102,103,105,129,137, *44- 5> i4<5> 147, 148, 149, 154, 166, 181, 216

doubling of (in octaves) 23, 47, 116 figured (see figured bass) fundamental 20, 21high (Bassetchen) 23, 26, 105, 109, 116, 212 imitative or concerting 23, 26, 99,102,103,110-11,

114, 142-3, 145, 149, 152, 154, 160 melody (melodic) 22, 26, 54, 56, 57, 71, 75, 82, 99,

109, 115-16, 132, 147, 223, 230 running 16, 49, 59, 164 (see also part-writing) thorough-bass (see under bass, accompanying; and

figured bass) variations in 26, 138, 139, 142-3

bassoon (see under instruments)Batteux, Charles 98 Baumgarten, A. G. 264beauty (beautiful) 21, 23, 29, 30, 40, 43, 45, 65, 69,

85, 97-8, 116, 127, 129, 143, 144, 147, 152, 208,230, 231, 233, 240, 243, 263, 264, 266

Beethoven 8, 138, 245 Bemucky, Herr 8 Benary, Peter 14, 19 Benda, Franz 2 Berlin 1-2, 4, 9, 25 Beyer, Madam 9 Bononcini, Giovanni Maria 207 bound tones 45, 60, 87, 94, 220, 243, 251, 253

(see also style, bound; and tie)Brescianello, Giuseppe Antonio 3 le Bret, Madam 9 brilliant (see under style)Briihl, [Hans Mortiz], Count [of Martinskirche] 6 Burney, Dr. Charles 3, 4, 5, 6, 7, 8, 136

cadence (close) 22, 26, 29, 40, 42, 47-8, 57, 59, 77, 82, 90, 92, 95, 97, 98, 103, 104, 114, 122, 132, 149, 151, 152, 193, 208, 212, 216, 217, 233, 261

deceptive 45, 64, 75, 77, 79, 81, 82, 87, 90, 91, 104, 211

perfect authentic (formal) 63, 79,103,104,111,115,118, 208, 212, 217

caesura (Einschnitt) 98, 103, 155, 255 Cambridge University 16

canon 12, 19, 27-8, 111, 133, 135, 144, 145, 156-86, 195, 212, 213, 229, 231, 250, 262

types, artificial 167-86: augmentation 167-68, 169-70; in clefs 172-5, 176-85; climax 175-6, 182-4; crab 171-2, 180-82; diminution 167, 168-9; free voice in 168, 181; inverted 179-80; inverted retrograde 170-71, 179-80; retrograde (see under canon, crab); riddle 27, 159, 167, 180, 182

types, simple 156-67: at the unison 156-60,164-6, double canon 167, modulating 159-60; at other intervals 160-64, at fifth/fourth 166-7,

173use of 164, 166, 168, 169, 170, 171, 183 voices, number of; two 156-64, 167-76; three

164-7, 169-70, 176-8; four 172-5, 178-86 cantabile (see under style) cantus firmus 217, 266 (see also melody, fixed)Carse, Adam 24, 25 cello (see under instruments) chamber music (see under style) choir 4, 266 (see also chorus)Chopin, Frederic 136chord 37,132,133,135,140,185,187,194, 219, 256-7,

258artificial 40, 41, 119augmented sixth (chromatic) 20, 44, 81, 103 broken 118 (see also arpeggio) dissonant 20, 40, 125 (see also dissonance) dominant (see under chords, the three, third);

borrowed/secondary (see under chords, the three, third, new)

enharmonic 20incomplete 22, 40-41, 52, 72, 109, 133, 134, 181,

(see also harmony, incomplete) inversions of 38, 47-8, 50, 51, 52, 53, 54, 71-3,

75-82, 83, 87, 92, 177, 181 position of (open, close) 39-41 (see also part-

writing, spacing) progression (see under chords, the three, order of) resolution of 44, 45, 78, 79, 80, 81, 82, 88, 90,112,

122; artificial 23, 44, 64, 86, 87, 124, 125 seventh, compound (major) 44, 60, 118, 125, 127 seventh, diminished (minor) 20, 40-41, 44, 60, 78,

80, 81, 82, 112, 121, 122, 158 subdominant (see under chords, the three, second) tonic (see under chords, the three, first) triad 19, 24, 69, 73, 74, 88, 219, 263

chords, the three 9 ,10,19-20, 25, 27, 37, 47, 58, 59,

Index 277

63,67, 68, 69, 73, 83,104,115,139,149,157,181, 194, 263

Daube’s theory of 9-10, 19-21 first or ruling 19, 37-8, 47-51. 69-71. 105, I33~5,

157-8, 167, 168, 170, 179, 196, 201, 202, 203, 251

order (progression) o f 20, 21, 22, 26, 29, 35, 41, 42,

44 , 45, 5<5. 57, 62, 63. 65, 68, 70 , 7 1, 73~8o, 81-2, 86, 87, 88, 90, 92, 94,104,118,143,150, 157, 177 , 181, 185, 212, 218; exceptions to 43, 56, 64, 88, 112, 157-8, 167, 170

second 20, 22, 28, 40, 51-3, 57, 62, 64, 71-2,106, 133. 135-7, 158, 167, 187, 201, 202, 203

third 20, 28, 38, 4o, 44, 53-5, 72-3,106-7. I37~9, 158,167,179,187, 199, 201, 202, 203; new or partially similar 20, 44, 45, 59, 60, 76, 77, 78, 79, 81, 86, 88, 90, 92, 102-3, 114, h8, 124-5, 159-60, 192 (see also modulation)

chord tones (essential tones) 22, 68, 75, 133-8, 140,142

omission of (see under chords, incomplete) chorus 40, 212, 217 (see also choir) chromatic(ism) (foreign tones) 23, 42, 60-62, 75-82 church music (see under style) clarity 21, 26, 27, 30, 40, 47, 85, 87, 94-5, 118, 119,

125, 152, 164, 168, 175, 179, 183, 186, 187, 204, 206, 207, 211, 215, 218, 233, 243, 245, 247, 254

clef 65- 6 , 146, 164, 172-5, 176-85, 220 Colomba (pseudonym for J . F. Daube) 3 complexity 21, 22, 30, 42 composers

master 69, 91,109,116,123,127,143,167,192, 218, 231, 266

“ modern” 42, 208, 211, 218, 266 composition

eight-part 127-30 five-part 24-5, 118, 119-25, 144 four-part 23-4, 67,104-19,122-3,125,144, 153-6,

186; artificial style 23, 105, 107, 109-19; natural style 23, 104-9

methods of teaching 22, 23, 28-9, 35, 42, 46, 104, 115-16, 123, 143, 170-71, 172, 175, 185-6, 212, 216

six-part 125-7three-part 22-3, 69-104,115, 116, 144, 152-4,164;

artificial style 22, 23, 69, 76 86-104, II2; natural style 22, 69-86

ten-part 130-32two-part 21-2, 43, 46-69, 104, 116, 144; equal

voices 21, 46-7, 50-51, 52-3, 55, 65-9, 83 melody and bass 21, 46-50, 51-2, 53-4, 56-65

le Comte, Madam 9 concertante (see under style)concerto 24, 28, 39, 97, 152, 186, 230 (see also style)

grosso 18, 97 concerts 4, 6, 7, 26connoisseur (Kenner) 4, 9, 14, 18, 19, 45, 123 consonance 42, 43, 63, 75, 77, 208, 215 continuity (see under melody, continuity of) contrast 21 (see also dynamics; styles, juxtaposition of;

and texture, variety of) countermelody 65, 98, 133, 187, 231 (see also counter

point)counterpoint 23, 75, 213, 231, 260 (see also counter

subject)counterpoint, invertible 29, 74, 94,103,168,169,181,

232double 25, 26, 27, 29, 186, 195, 212, 213-31, 232,

257 (see also fugue, double) amplification of lines in thirds, sixths 29, 220,

226chordal, tonal approach to 29, 118, 226 conversion of one type of another 29, 220, 226 episodic melodies (motives) 214, 230, free (auxiliary) voice in 29, 216 intervals: alternation of 221, 225, 230-31; inver

sion of 29, 214, 215, 218, 222, 226 subject and countersubject 29, 215, 216, 218, 219,

220, 221, 222, 223, 224, 225, 227, 230; differentiation of 29, 30, 214, 215-16, 218,228, 251

types: at the octave 29, 213-18, 227-8, 229-30, 235, 240-41, 246, 248-9, 251-2, 254, 255, 259; at the tenth 29, 215, 218-22, 225, 227-8, 235, 241, 248, 253, 255; at the twelfth 29, 185, 215, 222-5, 227-8, 235, 241, 244, 246-7, 248, 255

use of 29, 127, 217, 228-9, 230 quadruple invertible 213, 231, 264 (see also fugue,

quadruple)triple invertible 213, 231 (see also fugue, triple)

counterpoint, species 22, 25, 26, 50, 56, 72, 133, 216 countersubject (see also countermelody; counter

point, double; and fugue, double, quadruple, and triple)

crab (see under canon; and answers under fugue, double)

current style (see under style)

278 Index

dance 2, 3, 23, 28, 97, 208 (see also menuet)Daube, Johann Friedrich

Anleitung zu r Erfindung der Melodie (1797/98) 5, 7, 8, 16-17, 28, 59, 79 , 97, 98, 133, 231

Anleitung zum Selbstunterricht in der musikalischen

Komposition (1798) 17 Beweis, daft die gottesdientliche M usik (1782), 5, 8,

15-16, 28, 168, 231 General-Baft in drey Accorden (1756) 1, 2, 3, 9-10,11,

14, 19, 37, 60, 79, 116 D er Musikalische Dillettante: eine Abhandlung des

Generalbasses (1770/71) 5, 6, 7, 10-11, 12, 15, 19, 25, 37, 79

D er Musikalische Dilettant: eine A bhandlung der Kom

position (1773) 1, 3, 4, 5, 7, 12-14, >7-3°D er Musikalische Dilettant series 10-14, 15, 16-17,

59, 109,186, 267 “ Six sonates pour le Luth dans le gout moderne,”

Op. 1 2“ Sonata in F fur Cembalo” in Oeuvres melees 4 “ Der Trost des durchlauchtigst-kaiserlichen

Hauses. . .” 6 W ie die Leydenschaften 14-15

Daube, Susanna Margaretha 2, 5 Deller, Florian 3, 11development, motivic (see under motives) dialogue 19, 23, 24, 112 (see also style, concertante) dilettante 3, 4, 6, 7, 9, 17, 18-19, 27, 30, 170, 230,

243diminution 211 (see also canon; and answer under

fugue, double) dissonance 20, 40, 43, 50, 58, 63, 67, 77, 125, 137,

208, 215, 221, 222, 243, 245, 247, 249, 251, 253, 254, 259, 262, 264; preparation of (see under

part-writing) divertimento 7dominant 19, 21, 157, 251 (see also chords, the three,

third; and answers under fugue, simple) double bass (see under instruments) doubling 47, 119, 121-2, 126, 127,132, 139, 247 duet (duo) 8, 47, 148, 152, 171, 186, 217, 228, 230 dynamics 19, 23, 24, 25, 38, 39, 69, 95, 97,102,109,

114, 116, 118, 119, 127, 130, 152, 207, 208, 266

ear (hear) 4, 8, 19, 30, 35, 37, 38, 40, 41, 42, 47, 62,94, 95, 97, 98, 102, 116, 134, 157, 208, 212, 218,231, 240, 247, 255, 256, 264 (see also aesthetic and listener)

ease (easy) 12, 17, 19, 30, 35, 41, 42, 46, 51, 92, 94, 104, 115, 118, 123, 125, 126, 127, 129, 132, 137,

157, 168, 172, 173, 177, 185, 186, 187, 195, 213, 220, 228, 240, 247, 256

effect 22, 37, 38, 39, 40, 55, 67, 68, 69, 70, 74, 75, 88, 90, 95, 98, 107,109,116, 117,119,125, 127,130, 132, 139, 146, 152, 159, 160, 166, 172, 175, 187,207, 208, 229, 231, 263-4, 266 (see also

impression)Eibler, [Joseph] 8 elaborate 26, 37, 56, 122, 143, 144 embellish 21, 45, 69, 126, 136, 140, 143, 240 enjoyment 18, 30, 35,170,172, 267 (see also pleasure) Enlightenment (Aufklarung) 2, 17, 18, 266 episode (see under counterpoint, double and fugue,

double, quadruple, and simple) exposition (see under fugue, double, quadruple, sim

ple, triple)expression 19, 39,118,132, 168, 231 (see also affects) extension (see under melody, extension of)Eybler (see Eibler)

Fetis, Framjois-Joseph 9-10figure(s) (figuration) 25, 26, 27, 29, 95, 99,137,139,

140, 141, 142, 143, 144, 164, 207, 208, 211, 212, 214, 218, 260

figured bass 20-21, 82-3, 87, 104, 244, 253 (see also

thorough-bass) flute (see under instruments)Forkel, Johann Nikolaus 15form (structure) 23, 25, 26, 83, 97, 98, 118, 132, 133,

139, 207, 208, 245, 264, 266 (see also melody, main, division of; and styles, juxtaposition of)

phrase 23, 24, 60, 98, 116, 143, 213, 255, 256 proportions 97, 98, 115,116 repetition 23, 25, 98, 129, 148 (see also repetition

below)symmetry 23, 24, 25, 69, 97-8, 143, 171, 211, 255,

256Forster, [Emanuel Aloys] 8fragmentation (see under motives, development of) Franz I., Emperor of Austria-Hungary 4 Frederick the Great 1, 2, 3freedom 27-8, 28-9, 70, 90-91, 98,109,119,132,136,

145, 164, 171, 183, 186, 187, 199, 207, 208, 211, 216, 218, 228-9, 243, 245, 250, 251, 258

French 1, 2,112 (France) dancers 2, 3

Freystadtler, [Franz Jacob] 8 Fuchs, Herr Ignaz Grafen von 7,16 fugal style (see under style)fugue 19, 23, 26, 27 (and fugato), 37, 133, 144, 167,

Index 279

179,183,186,187, 213, 216, 266 double 12, 29-30, 231-43, 255, 256-65

answers (repetition, imitation) 232, 235, 243, (in augmentation, diminution, hocket, melodic inversion, retrograde, stretto) 30, 250, 256-66

episode 233, 240, 257, 259 expositions (entries) 232, 233, 235 (stretto), 243,

257, 258subject and countersubject 30, 231, 232-3,

234-5, 240-41, 243 quadruple 29-30, 213, 231, 251-6

episode (middle) 255 expositions (entries) 255 subjects 251-2, 254, 255

simple 12, 28-9, 186-213answers 28, 29, 186, 187, 204, 206; dominant

level 28,187,194,197,198,199, 202, 203 to irregular subjects beginning on 2 of scale 192-4; on 3 of scale 194-5; on 4 of scale 195-7; on 6 of scale 197; on 7 of scale 197-8; to irregular subjects ending on 2 of scale199-200; on 3 of scale 201-2; on 4 of scale200-201; on 6 of scale 202-3; on 7 of scale 203; real 28, 187, 192, 193, 194, 196, 197, 198; to regular subjects (beginning and ending on 1 or 5 of scale) 187, 190, 191-2, 203; subdominant level 28,187, 193-4, 197,198, 202; tonal 28, 187, 190, 191, 192, 193, 194, 195, 196-7, 198, 201, 202, 203; unusual interval of imitation 28, 199-200, 208

countermelody (accompaniment) 28 (countersubject), 187, 204, 206

episode 28, 187, 207, 208, 211, 212, 213, 250 exposition 28, 187, 199, 207, 207-8; re-entries

28, 191, 192, 208, 211 free (Marpurg) 211 (see also irregular) fugu e phrasee (Reicha) 207 irregular/improper (unbound/approximate) 28,

186, 187middle (continuation) and end of 28, 199-200,

202, 204, 208, 211, 212, 250 regular or proper 28, 183, 186-7, 2°8 , 266 stretto 28, 206-7, 208; free voice in 207 strict (Marpurg) 28, 211, 250 (and recherchte)

subjects 28,123, 136,177,183,186,187,190,191, 204, 206, 207, 208, 211, 212, 213; andamento 187, 211; attacco 28, 187, 199; irregular/regular (see under fugue, simple, answers); soggetto 187

use of 27 (fugato), 186, 212

triple 29, 30, 213, 231, 243-51 expositions 244, 245subjects 243-51; augmentation and retrograde

250-51; inversion of 244-9 Fux, Johann Joseph 22, 42, 56, 192, 194, 207, 216,

218, 220, 226, 231

galant style (see under style, galant)

Galeazzi, Francesco 207 Gallus (see Mederitsch-Gallus)Galuppi, Baldassare 11gamba (see under instruments, viola da gamba) Gassman, Florian 6 Gellert, Christian Filrchtegott 5 Gerber, Ernst Ludwig 17German(y) 1, 2, 3,4,16,18, 79, 99 (see also Augsburg,

Berlin, and Stuttgart-Ludwigsburg)Gottsched, Johann Christoph 5 Graun, Johann Gottlieb 2, 125 Graun, Karl Heinrich 2, 125, 230 Greek 15 (and Roman heritage) 266

Handel 16, 28, 83, 230Harmonie 19, 26, 37, 256 (see also harmony in general) harmonization (see under melody, harmonization of) harmony

cadential (functional, tonal) 10, 20-21, 29, 30, 47, 125, 126, 187

chordal, Daube’s theory of 19-21, 30, 42, 47, 78, 187

diversity of (i.e., including texture) 24, 39, 40, 41, 42, 115, 116,126, 130, 132, 152, 231

full(-voiced) (complete) 23, 39, 46, 97, 98, 108, 109,116,123,126,127,129,130,132,152,177,263

in general (i.e., including texture) 19, 35-41, 42, 69, 75, 83, 85, 88, 118, 123, 132, 136, 144, 146,149,152,171,177,178,186, 211, 213, 225, 226, 228-9, 231, 24°> 263, 264

incomplete 21, 22, 23, 40, 73, 83, 98, 116, 181 (see

also chords, incomplete) simple (diatonic) (simplification of) 9, 10, 19, 25,

27, 46, 112, 126, 173, 218, 224 (see also

simplicity) harp (see under instruments) harpsichord (see under instruments)Hasse, Johann Adolph 125Haydn 6, 8, 9, 11, 27, 116, 152, 170Hessendarmstadt 1, 14Hiller, Johann Adam 18hocket (see answers under fugue, double)

280 Index

Hoffmeister, [Franz Anton] 8 Holz, Karl 245 Holzbauer, Ignaz 3 horn (see under instruments)Horsley, Imogene 28, 187, 193, 194, 197, 198, 207,

211, 228, 245, 250

idea (thought), musical 98, 152, 266 imagination 92, 245imitation 19, 22, 23, 25, 26-7, 42, 50-51, 53, 55, 56,

65, 69, -86, 87, 89, 90, 92, 98, 103, 104, 109, 110, in , 112, 114, 119, 127, 139, 141, 142-3, 144-56, 186

four-part 153-6free 26, 27, 87, 144, 145, 149-51 fugal 26, 28, 29, 149, 153, 183, 184, 185, 245, 256,

260 (see also answers under fugue, simple) motivic 23, 25, 26, 27, 28, 69, 92, 99, 103, 104,

145, 152, 154. 155, 156, 186 real (similar) 144 strict 26, 144, 145-9, ! 5<5 three-part 152-4tonal (dissimilar) 26, 144, 149-51 two-part 144-52

impression 37, 40, 41, 55, 116,119,132,134,154, 217, 263 (see also effect)

improvisation 9, 26, 136, 139, 143 instruction, market for 4instrumentation (scoring) 19, 24-5, 26, 27, 30,

38-40, 43, 45, 47, 69-70. 88, 116, 123-32, 134, 139, 144, 153, 156, 164, 166, 247, 266 (see also

timbre)instruments (instrumental) 8, 11, 37, 39, 63, 69, 126,

127, 129-30, 134, 136, 152, 166, 168, 186, 217, 218, 263

balance of 102, 105, 118-19 bassoon 24, 26, 125, 127, 145, 146, 148-9, 155-6,

217-18cello (see under instruments, violoncello) double bass 39, 218flute 1, 2, 3, 24, 26, 38-9, 43, 69,124,125,126,127,

128, 130, 153, 154, 155 harp 26, 138, 139harpsichord 3, 7, 23, 37, 38, 88, 92, 102, 112, 134,

143 (see also instruments, keyboard) horn 24, 26, 39, 45, 70, 123, 125, 126-7, I28, 129,

130, 146, 153, 155-6 (stopping) keyboard 11, 26, 92, 138, 139, 142, 208 (see also

instruments, harpsichord and piano) like (same) 129, 132 like (range) 145-6 lute 1, 2, 6, 8, 146

market for 4oboe 24, 26, 39, 43, 69,127,128,129,130,153,154,

155organ 38, 79, 134piano 9, 38 (see also instruments, keyboard) similar (same family) 263string 38, 104, 127, 132; techniques: collario 117;

double stops 139, 208; muted 24, 39, 116; open-string 132; pizzicato 24, 116, 118

trumpet 45unlike (range) 146, 148, 151 viola 23, 47, 104-5, 106, 107, 109, no, 112, 114,

116, 118, 121, 123, 125, 127, 128, 129, 130, 132,144,166

viola da gamba 146violin 3, 8, 9, 24, 38, 39, 40, 47, 69, 88, 105, 107,

no, 114, 115, 116, 118, 124, 125, 127, 128, 130,132,146,148-9,190, 208

violoncello 7, 38, 39, 40, 69, 102, 128, 145, 146, 166, 217-18

wind 9, 21, 24-5, 38, 39, 45, 55, 88, 95, 125, 126, 127, 129, 130, 132, 134, 153, 208, 212, 230; breathing 24-5, 95,126

interrupt 24, 69, 74, 127, 130, 132, 139, 147, 152, 155 (see also surprise; styles, juxtaposition of; and unexpected)

intervals (see also intervals, parallel) 12, 42-6, 213-31; alternation of 42,105,121-3,177, 243, 247, 248,249, 253-4; fifth 39, 215, 243, 245, 251, 253, 259, 262, 264; fifth, diminished 40, 43, 172; fourth 90, 107, 215, 259; fourth, augmented 40, 150, 172; half step (see second, minor); ninth 41, 60, 87, 90, 104, 107, 125; octave 37, 42, 43, 47, 57, 63, 103, 104, 106, 121-3, 126, 139, 147, 155, 160, 173, 177, 182, 185, 207, 253 (see also counterpoint, invertible, double, at the octave); octave displacement 253; ratios of 63; second 40, 208; second, major 62,187; second, minor (half step) 28, 29, 60, 67, 76, 81, 88, 89,107,160,162,164, 184, 187, 190, 191, 192, 194, 196, 202, 203, 257; seventh 60, 76, 77, 104, 125, 150; seventh, diminished 44; seventh, major 40; sixth 38, 39, 42, 121-3, 177 (see also intervals, parallel); third 39, 42, 121-3, 177 (see also intervals, parallel); tritone 40; unison 37, 39, 42, 43, 47, 63, 97, 98, 105,108,126,127,130,132,177, 263; whole step (see second, major)

intervals, parallel; fifths 68, 104, 215, 216, 218, 221, 222; fourths 215, 216; octaves (unisons) 47, 97, 104, 207, 218 (see also doubling); sixths and thirds 22, 24, 26, 29, 42, 47-8, 50, 52, 53-4, 55,

Index 281

57,58, 63, 64, 65, 66, 68, 69, 70, 71, 75, 82, 83,86, 94, 97 ,104,106,107, no, h i , 116,127,152,155, 156, 240-41, 218, 220, 243, 249, 262, 263, 264

intonation 37, 134 invention (see under melody) inversion

of chords (see under chords) melodic (see melodic inversion) of voices (see under counterpoint, invertible; and

fugue, double, quadruple, and triple)Italian style (see under style)

arias (see arias) singers 2, 3

Jommelli, Nicolo 2, 3, 4, nJoseph, Emperor of Austria-Hungary (r. 1765-90) 7 journalism 4, 5judgement 7, 40, 41, 42, 46, 88, 92, 95, 109, 218,

220, 230, 240, 245

Karbaum, Michael 1, 2, 3, 4, 5, 6, 7 ,10,14,15,17,19 Karl Eugen, Duke of Wiirttemburg 1. 2, 3, 4, 9 Keiser, Reinhard 125key(s) 20, 21, 22, 28, 29, 47, 61, 63, 75, 78, 98, 114,

132, 144, 147, 148, 149, 187, 193, 197, 198, 199,207, 208, 213, 219, 225, 226, 240, 243, 255, 256, 261; change of (see modulation); interchange of major and minor 118; major 79, 171, 187; minor60, 79-82, 138, 171; relationship of 35, 60, 104

keyboard (see under instruments)Kircher, Athanasuis 41 Kirkendale 207, 231, 245Kirnberger, Johann Philipp 14, 19, 20, 21, 22, 29, 41,

42, 47, 50, 140, 144, 170, 186, 187, 207, 208, 216, 220, 228, 230, 231, 232, 240, 250

Kletzinsky, [Johann Baptist] 8 Koch, Heinrich 14, 18, 47, 105, 126, 144 Kollmann, August Friedrich Christoph 41, 126, 170,

187, 211, 231, 232 Kozeluch, Leopold 8, 112 Kreith, [Karl] 8Kromer [Krommer, Franz Vincenz] 8 Kurtzb8ck, Joseph (publisher) n , 12, 13, 25 Kurzbek, [Kurtzbock] Fraule v. (daughter of Joseph)

8-9

languages 1, 2, 16, 97leading tone (indicative tone, indication of the key,

major seventh of the key) 20, 60, 64-5 (decend- ing), 78, 81, 82, 87, 116, 166, 181, 187, 192, 198, 202

leaps (see under part-writing, motion) le Bret, Madam 9 le Comte, Madam 9 Leibniz, Gottfried Wilhelm von 4 Lessing, Gotthold Ephriam 18 Levy, Janet 24, 112, 118 limitations 28, 208, 243, 245 (see also rules) listener 88, 97, 99, 104, 116, 207, 214, 245, 266 (see

also ear) literature 98, 264 Lohlein, Georg Simon 42 Lolli, Antonio 3 London 116long tones (see sustained tones) lute (see under instruments)

Mancini, [Giambattista] 8Mann, Alfred 42, 144, 187, 192, 194, 203, 207, 208,

211, 220, 226, 231, 245 Mannheim 3, 25Maria Theresia, Empress of Austria-Hungary 7, 12 Marpurg, Friedrich Wilhelm 9-10, 14, 22, 29, 144,

187, 192, 193, 194, 197, 198, 203, 207, 208, 211, 216, 220, 231, 245, 250, 260

Martini, Padre Giambattista 22, 28, 187, 192, 199,207, 211, 232

Mattheson, Johann 25, 83, 192, 207, 208 mechanical (clock) 48, 72, 170 Mederitsch-Gallus, [Johann Georg Anton] 8 melodic inversion 29, 30,170-71,179-80, 213, 226-7,

256-60, 261-2, 263 melody 35, 42, 48, 58, 59, 64-5, 85, 88, 97, 103,104,

115,116,123,132,136,139,144,146,149,151,152, 156, 159, 160, 164, 166, 167, 171, 172, 177, 180,185,186,187, 211, 213, 226, 228-9, 231, 232, 233, 263, 265-6

continuity (continuation) of 23, 27, 60, 97, 116,145,1 4 6 ,147,1 5 2 ,157,168,171,180,186, 204,206, 207, 211, 212, 213, 214, 231, 232, 243, 245, 255-6, 259, 266

diverse note values in 50, 74, 164, 254, 266 extension of 29,115,186, 211, 212, 213, 228, 231, 255 fixed or given 21, 41, 65, 74,115,123, 260, 266 (see

also cantus firmus) flowing (see under style)harmonization of 9, 19, 21-3, 25, 30, 41, 42, 45,

46-69, 69-104, 104-19, 143, 157, 158, 172, 175-6, 178, 180, 184

improvement of 58, 65, 143, 256 interdependent 27, 30, 93,145-6,147,151,152,155,

186, 213, 231, 255

282 Index

melody (cont.)

invention of n , 12, 13, 16-17, 45, 59, 65, 97, 133,136, 143,157,186, 243, 247, 251, 266; treatise on (see Daube, J. F„ Anleitung zu r Erjindung

der Melodie)

main 43, 75, 83, 93,105,116,118,136,144,145,146, !55, r75> 206, 208, 228; division of 23, 69, 97, 98, 143

priority of (over harmony/texture) 22, 23, 41, 69, 73. 74. 83, 90, 109, 228, 233

tones, three classes of 68-9 menuet 26, 90, 136, 137, 139, 143 Mersenne, Marin 41meter: alia breve 28,133,195, 216; duple 122 (2/4), 195

(4/4); changes in 138; triple 91, 117 Meyer, Madem (Baronesse) v. 9 minuet (see menuet) moderation 43, 58,136, 139, 187 modern style (see under style, current and composers,

modern)modulation 9, 20, 22, 23, 59, 60, 61, 75, 76, 77, 78,

79, 81, 82, 86, 87, 88, 92, 102, 103, h i , 112, 114-15,118,122,132,144, 147,148, 149, 153,155, 159-60, 176, 183, 191, 192, 193, 194, 195, 197, 198, 201, 203, 207, 213, 234, 235, 240, 243, 255

Momigny, Jer6me-Joseph 138, 143 Morigi, Angelo 207motions, contrary, oblique, and parallel (see under

part-writing) motive(s), melodic 21, 23, 26, 43, 69, 89, 92, 95, 98,

99,102,103,104, no, 114,115,116,126,127,130,

134, 135, 139, 143, 144. 145, 146, 147, 148, 149, 152, 154, 155, 156, 178, 186, 207, 208, 250, 266 (see also figure)

development and fragmentation of 26, 102-3, no-11, 152, 155, 208, 211-12, 250 (see also

imitation, motivic) movement (of multi-movement work) 74, 97 (see also

tempo)Allegro 82, 115,116, 117 slow 37, 116, 129, 136

Mozart, Leopold 48, 126 Mozart, Wolfgang Amadeus 7, 8, 27, 138, 170 MUller, [Wenzel] 8

Nardini, Pietro 3nature (natural) 10, 18, 21, 37, 38, 42, 45, 60, 62, 64,

65, 69, 81, 85, 86, 87, 88, 92, 94, 9 7 -8 ,1 0 4 ,109,119, 127, 145, 156, 159, 208, 211, 233, 243, 255, 256, 260, 264, 265-6, 266; and art (see under art)

neighbor (auxiliary) tones 49, 67, 69 Nichelmann, Christoph 2

non-chord tones 19, 21, 22, 48-51, 52, 68-9, 75, 140 notation 79, 85,109,159,167,176,177,178,180,182,

183,184, 185note values 37, 42, 49, 50, 67, 74, 82, 85, 135, 139,

164, 226, 244, 247, 254, 263, 266 (see also

melody and part-writing)Noverre, Jean-Georges 3

oboe (see under instruments) octave (see under intervals, range, and register) opera (see under style, opera; and style, theater) orchestra 3, 24, 105, 152, 208 (see also symphony) orchestration 24-5, 123-32 (see also instrumentation) Ordonetz, [Carlo d’] 6 organ (see under instruments) organ point (see pedal point) ornament 21, 26, 37, 62, 75, 103, 126, 137, 139, 140,

143, 207, 266 (see also figure)Oxford University 16

painting 98, 126Paradies, Fr3ule [Maria Theresia] v. 8 parallel intervals (see under intervals, parallel) part-writing (parts, voices) 21-4, 26, 30, 37-41, 42-6,

46-69, 69-104, 104-19, 119-32, 136, 144-56, 207-8, 211-12, 243, 254, 255 (see also bass; harmony in general; imitation; instrumentation; range; style, concertante; texture; and timbre)

alteration of 83, 98-9, 116common tone (stationary or retained) 41, 51, 60,

71, 72, 75, 78, 79, 80, 81, 82, 90,106,109,116,117, 118, 121, 122, 157, 159, 170 (see also sustained tone)

differentiation of 26, 29, 30, 70-71, 74, 82, 83, 87, 95, 116, 118, 136, 151, 166, 169, 206, 214, 215-16, 218, 219, 220, 221-30, 233, 244-5, 247-8, 250, 251, 254

dissonance, preparation of (retained tones) 20, 50, 51, 53, 60, 61, 69, 71, 73-4, 75, 77, 87, 90, 92,103, 107,116, 117, 121,125,129

motion (intervallic) (see also intervals): conjunct (steps) 49, 67-8, 82, 83,150-51, 152, 154; disjunct (leaps) 82,123, 158-9,179, 181, 184

motions (relative direction) 21, 42-6, 65, 66, 69, 71, 75. 77, 82, 92, 104, 115, 118, 123, 215, 263-4; contrary 21, 43-4, 57, 75, 78, 79 , 81, 82, 87, 104, 107, 123, 152, 183, 219, 221, 226,243, 249, 250, 251, 264; oblique 21, 45, 59, 71, 75,88, 91,103,117,127, 215, 221, 226, 232, 264; parallel 21, 22, 42-3, 75, 107 (similar),132, 264 (see also intervals, parallel)

Index 283

movement (relative rates of) 21, 22, 27, 30, 37, 42, 48, 57, 71-2, 75, 82-3, 86, 87, 97,112,118,123, 127, 129, 136, 154, 172, 216, 244, 254 (see also

sustained tones) movement (type of) 74, 85-6, 207; flowing (see

under style); running (rapid) 26, 27, 49, 52, 55, 59, 82, 83, 86, 87, 92, 99,103, h i, 114,116, 117,126, 129,137,142,149,150,152, 158,164, 166, 172, 206, 207-8, 211, 215-16, 218, 260; slow 43, 116, 126, 127, 156, 207; steady, moderate 95, 99, 102, 116, 129, 137, 145

spacing 26, 37, 38-41, 47, 65-6, 104, 109, 146-7,208, 216, 243, 250

voice-crossing of 22, 23, 69, 74, 89, 90, 92, 93,104, 105, 145, 146, 155, 157, 215

passagework 3, 97, 99, 129, 151, 260 (see also style, rushing)

passing tones 22, 35, 37, 48-9, 50-51, 52, 54, 55, 56, 57, 68, 69, 75, 78, 82, 85, 123, 127, 129, 133-9,140, 142, 166-7, 179, 221, 243, 245, 247, 249, 250, 253, 254, 264, 266

passions (see affects) patronage 4, 6, 7, 16 pedal point 70, 88performance 6, 8, 9, 16, 37, 61-2, 102, 105, 112,

118-19, 132, 143, 176, 182, 184, 195 (see also

appoggiatura; articulation; dynamics; instruments; intonation; ornament; and thoroughbass)

performer 1-4, 6-9, 15, 16, 26, 119, 139, 156, 179 Petri, Johann Samuel 42, 75, 195 phrase (see under form) piano (see under dynamics) piano (see under instruments) pleasure (pleasant) 18, 19, 39, 41, 43, 45, 46, 58, 94,

98, 99, 126, 148, 156, 245, 260, 266, 267 (see

also enjoyment and style) poetry 98, 245, 266 (see also text and words)Pohl, W[ilhelm] 8Portmann, Johann Gottlieb 54, 75, 138 position, open and close (see under chords, position

of)praise (see approval)Printz, Wolfgang Caspar 41progression (see under chords, the three, order of)publishing 2, 4, 9-17purpose of music (see aim)

Quantz, Johann Joachim 1, 2, 46, 47, 97, 143, 148, 230

quartets 23-4, 105, 112-19, 186

Rameau, Jean-Philippe 9-10, 20-21, 22, 41, 125,144,187, 194, 245

range 21, 24, 26, 27, 28, 35, 38, 39, 43, 90,104-5,112, 123, 132, 134, 138, 139, 142, 146, 147, 155, 160, 162, 173, 204, 208, 213, 215, 222, 226, 228, 263 (see also register)

Ratner, Leonard 19, 21, 41, 47, 56 recitative 16, 20register 25, 38, 39, 43, 63, 123, 133, 138, 139, 144-5,

156, 186, 204, 206, 218, 256 (see also range) Reicha, Antoine 207 Reichardt, Johann Friedrich 7 Reinken, Jan Adams 207, 245 Renaissance 18repeated (retained) tones 63, 80, 85, 127, 179, 208 repetition (recurrence) of figures, motives, phrases, or

passages 23, 25, 93, 95, 98, 129, 132, 144, 146, 148, 160, 175-6, 178, 182, 184-5 (see “ Iso form)

resolution (see under chords, resolution of) rest(s) 24, 25, 27, 30, 57, 74, 82, 83, 85, 87, 89, 91, 92,

95, 97, 98, 105, 109, 115, 116, 123, 126, 127, 138,158, 164, 167, 173, 175, 177, 179, 181, 183, 185, 186, 187, 192, 194, 196, 198, 204, 206, 211, 243,244, 251, 254, 255, 256, 258, 259-60; general25,104, no, 208

retardation (suspension) 19, 58, 67-8, 69, 76, 87, 89, 90, 94, 104, 121, 150-51, 212, 263

retrograde (see under canon, crab; and answers under

fugue, double) rhythm (see also melody; and movement under part-

writing) dance 28; dotted 25,138, 254; harmonic 141; syncopated 56, 262 (see also bound tones and tie)

Riemann, Hugo 9, 10, 14, 19 Riepel, Joseph 19, 41, 42, 45, 47, 48, 54, 72, 75, 79,

97, 122, 170, 195 ritornello 115 Rococo 27, 152rules 28, 29, 41, 45, 61, 62, 69, 74, 76, 88, 97, 123,

139, 172, 185, 186, 187, 192, 203, 208, 215, 216, 218, 235, 243, 245, 246, 247, 251, 253, 257, 258, 262, 264, 266 (see also limitations)

running (see movement under part-writing) rushing style (see under style)

Salieri, Antonio 8Sarti, Giuseppe 11Scarlatti, Alessandro 125Scarlatti, Johann Baptista Rondinelli 14Scheibe, Johann Adolph 54, 75, 187, 195Schmid [Joseph] 8

284 Index

Schubart, Christian Friedrich Daniel 3, 25, 195 Schubhart, Susanna Margaretha (Daube) 2 Schulz, Johann Abraham Peter 22, 24, 42, 46, 99,

126, 127, 133, 144 science(s) 35, 97-8, 160, 224, 264, 266 scoring (see instrumentation) sculpture 98sequence 60, 87, 88, 90, in , 112 serenade 8 Shakespeare 15simplicity (simplification) 18, 19, 21, 22, 25, 26, 27,

30, 37, 42, 60, 88, 95, 112, 118, 126, 140, 156, 208, 260 (see also harmony)

sing(ing) 8,16, 37,140,158,166,168,184, 263 (see also voice, human)

singers 2, 3, 43, 55, 143 singing style (see under style)Singspiel 266solo 24, 25, 27, 39, 112, 115, 127, 129, 132, 152, 164,

169sonatas: da camera 18; solo 23,126; trio (a tre) 23, 24,

99, 112, 115, 127 (see also trio) song(-like) 6, 8, 16, 37, 48, 116, 166 soul 19, 37, 48sound 19, 30, 37, 138, 170, 231 spacing (see under part-writing)Spiess, Meinrad 18-19spontaneity 21, 26, 27, 42, 88,103,145,147,152,156,

266Starzer, Joseph 6 (Startzler), n Steffan, Joseph Anton 7 string instruments (see under instruments) stretto (see under fugue, simple)Stuttgart 1, 2-4, 25, 245 (see also WUrttemburg

court)style 11, 12, 13, 15, 24 (see also movement, styles, and

tempo) alia breve 28, 133, 195, 216 ancient 4, 265-6 arioso 207artificial 19, 22, 23, 24, 27, 51, 69, 76, 86-104,105,

107, 109-19, 122, 126, 133, 144, 157, 159, 167,168, 171, 177, 208, 224, 230, 232, 233, 243,250, 256, 260, 262, 264, 265

beautiful 127 (see also beauty) bound 42, 93, 122, 126 (see also tie) brilliant (bright) 23, 24, 25, 27, 28, 29, 69, 75, 88,

93, 94, 95, 97, 98, 108, 112, 114, 115, 116, 119, 123,125,126,127,129,132,137,166,171, 208,229, 230

cantabile 3,19, 22, 24, 26, 54, 99,136 (see also style, singing)

chamber 1, 2, 3, 4, 6-7, 8, 9, 12, 18-19, 21-30, 43.99, 154, 164, 183, 195, 208, 213

cheerful 48, 117, 126, 145church 4, 8, 9,12,15-16,18,19, 21, 26, 27, 28, 29,

37, 40, 43, 48, 60,132,136,140,154,164,168, 183, 195, 212, 213, 217, 218, 220, 227, 266

concertante (concerting) 18-19, 22, 23, 24, 26,46, 69, 74, 93, 95, 98,104,105, 112,116, 119, 125, 127,129-30,139,142-3,146,149,151,152,153, 155,169,186, 212, 228, 230 (see also style, concerto and; concerto (above); and dialogue)

concerto 24, 28, 99, 115 (see also concerto above) current (modern) 1, 4, 8, 12, 28, 29, 35, 45, 125,

126, 127, 195, 212, 228, 231, 266 dance 7, 15, 23, 28, 97, 208 (see also menuet) delicate 21, 26, 39, 40, 43, 108, 139 distinctive 23, 93, 95 empfindsamer Stil 2, 99, 208 (pathetic) flowing (fleeting, fluent) 22, 25, 41, 54, 85, 88, 92,

94, 117, 126, 129 (natural, easy), 147, 157 free 19, 20, 21-30, 72, 122, 133, 144, 186, 206, 211,

218, 230, 245, 260, 266 (see also style, unbound)

fugal h i , 133, 183, 212, 256 galant 1, 2, 6, 10, 18, 19, 23, 27, 28, 29, 30, 56, 95,

122, 168, 169, 195, 207, 208, 216, 218, 229,230, 231, 233, 256

high, middle, and low 12, 18 Italian 3, 18, 24, 25, 26, 37, 99, 115, 136, 143, 207,

245. 257 lament (mourning) 48 learned 19, 27, 207, 229lively (animated) 23, 28, 95,120,145,186, 208, 255 magnificent 21, 39, 45, 126, 132, 229, 230 modern (see under style, current) national 8, 26natural (unbound) 22, 23, 27, 69-86, 104-9, I29

(see also style, simple) opera 1, 2, 3, 4, 8, 9, 12, 15, 16, 19, 20, 21, 24, 28,

43. 45. 97. 132. 154, 186, 266 (see also style, theater)

pastoral (rustic) 83playful 23, 95,108,109, no, 145, 207, 208, 212 (see

also style, skipping) pleasant 23, 93, 98, 99,126, 207, 208, 212, 255, 260 running (see under movement) rushing 24, 26, 27, 97, 108,114, 115,116, 129,132,

139, 166, 230

Index 285

serious 28,108,109, 208, 212 simple 19, 24, 26, 37, 43, 47, 58, 88, 115, 118, 136,

137, 140, 208, 228, 266 (see also style, natural) singing 21, 22, 23, 24, 26, 27, 37, 43, 49, 69, 82,

93, 95, 97, 98,108,109,114,115,116,119,127, 129,130,132, 136,137,139, 143, 157,171, 186,208, 212 (see also style, cantabile)

skipping 23, 59, 95, 97 (Springer), 116, 123, 137, 139, 145 (see also style, playful)

sonata (see sonatas)strict 19, 25, 26, 27, 28, 29, 30, 122, 133,168,186,

195, 206, 233, 250 symphonic 3, 26, 28, 115, 126-32, 195 (see also

symphony)theater 3, 18, 26, 27, 164, 212, 213 (see also theater

and style, opera) unbound 28, 85, 132, 164, 186, 259 (see also style,

free)styles

integration of strict and free 27, 29, 30, 127, 164, 166, 168, 186, 212, 218, 228-3i, 266

juxtaposition or contrast of 23, 24, 25, 26, 27, 28, 69 , 95, 97, 108-9, 114, 115, 116-17, 119, 132, 139, 152, 207, 208, 229, 230, 257

subdominant 21, 28 (see also chords, the three, second;and answers under fugue, simple)

subject, fugue (see under fugue, simple) subscription 13, 17Sulzer, Georg 5, 18, 19, 22, 24, 25, 42, 46, 99, 126,

127, 133, 140, 144, 170, 186, 187, 208, 228, 230,232, 240, 250

surprise 23, 97,127, 245 (see also interrupt and unexpected)

suspension 50, 69, 103, 125 (see also retardation) SuBmayer, [Franz Xaver] 8sustained (long) tones 21, 24, 26, 27, 38, 45, 48, 52,

54, 55, 63, 66, 69, 74, 78, 82, 83, 86, 87, 88,109, 114, 117,121-2, 123-32, 142,149-50, 152, 154-6,158,166,178,179,184, 215-17, 230, 233, 251, 258

symmetry (see under form)symphony (symphonic) 2-3, 7, 8, 19, 21, 23, 24-5,

26, 27, 28, 29, 40, 45, 47, 97,105, 115, 116,117,125-32, 136, 152, 156, 186, 195, 208, 228, 230, 266 (see also orchestra; and style, symphonic)

syncopation (see rhythm)

table music (Tafelmusik) 6, 7taste 8,18, 23, 24, 45,125,126,127,136, 212, 218, 229,

231. 233Taube (Daube) 1, 2, 3

Tauber, [Anton or Franz - brothers] 8 Telemann, Georg Philipp 125, 231 tempo (see adagio, alia breve, allegro, allegretto, andante,

and vivace; see also movement) changes 138; rapid 120; slow 24, 40, 48, 102, 116,

118, 136text 27,132,168, 212, 266 (see also poetry and words) texture 19, 21-7, 29-30, 37-41, 42-6, 46-104, 108,

in , 116,117,136,139, 146, 208, 213, 230 (see also

harmony in general; imitation; instrumentation; part-writing; range; and timbre)

free-voicing 208homophonic 26, 27, 29, 30, 46, 93, 186, 228, 231,

255-6 (see also melody, continuity of; melody, interdependent; and melody, priority of)

polyphonic (contrapuntal) 23, 25, 26, 27, 30, 43, 46, 228, 231, 260 (see also imitation, canon, counterpoint, and fugue)

variety of 23, 24, 25, 27, 30, 37-41, 42, 75, 83, 87,95, 97, 98, 105, 107, 108, 110, 112, 114, 115-23,126-32, 138, 152, 153, 155, 164, 168, 169, 170,230, 231, 243, 263, 264, 266 (see also dynamics; harmony, diversity of; style, concertante; and styles, juxtaposition of)

Teyber (see Tauber)theater 3 (see also style, opera; and style, theater) theme (see under melody; and subject under fugue,

simple)theme and variations 25-6,133, 136, 137,138,139-43,

264thorough-bass 9-10, n , 12,17, 21, 35, 43, 47, 63,177

realization of 23, 37, 42treatise on (method) 8, 9-10, 10-11, 12,13, 23, 35,

37, 42, 43, 44, 45, 46, 47, 48, 51, 53, 56, 58, 59, 63, 67, 73, 77, 82, 88, 108, 115, 124, 132,133, 135, 143, 214 (see also Daube, J . F„ Gener

a l l y in drey Akkorden and D er Musikalische

Dillettant: eine Abhandlung des Generalbasses)

tie 23, 45, 60, 74, 75, 86, 88, 98,109, 132, 170, 208, 222, 262, 264 (see also bound tones)

timbre 19, 38-9, 69-70, 247 (see also instrumentation)

tonic (see under chord, the three, first or ruling) note (ending tone) 19, 21, 37, 45, 226

transposition 60, 88, 90, 98, m , 112, 123, 125, 144, 175-6, 184, 185, 187, 191, 207, 212, 218, 220, 221-6, 231, 235, 243, 244, 247, 249, 250, 253, 254, 261, 266

Trattner, Johann Thomas Edler von (publisher) 5, 12-13

286 Index

triad 19, 69, 73, 74, 88, 219, 263 (see also chord) trio 186, 230 (see also sonatas, trio) trumpet (see under instruments)Trydell, Rev. John 22Turk, Daniel Gottlob 46, 99, 140, 143tutti 16,127 (see also harmony, full)

unbound style (see under style)unexpected 97, 102, 103, 104, 109, in , 127,132, 154,

207, 211, 245, 251, 255 (see also interrupt and surprise)

Vanhall (see Wanhal)variation 17, 25-6, 58, 87, 95, 103,114,120,122,123,

I32-43> r52> I54> 158, 160, 162, 164, 170, 173, 175, 178, 182, 185, 186, 207, 211, 212, 226, 228,231, 233, 240, 241, 250, 254, 255, 260, 263, 264, 265, 266 (see also theme and variations)

variety 19, 22, 24, 25, 27, 30, 41, 42, 43, 47, 51, 53, 65, 71, 75, 80, 87, 107, 116, 117, 168, 169, 207,208, 228, 229, 231, 240, 255, 264, 266 (see also

texture, variety of)

Vienna 1, 3, 5-9,10,11,12,15,16,17, 25, 28,117,170,207, 216, 245

viola da gamba (see under instruments) violin (see under instruments) violoncello (see under instruments) virtuoso 9, 16, 26, 112, 139 vivace 58, 107,147,151, 165,176, 196, 201, 234 Vogler, Abt Georg Joseph 60 voice(s): exchange (see under counterpoint, invertible)

free 29, 181, 207, 208, 216; human n , 26, 27, 37, 39, 55, 217, 218, 263 (see

also singing);leading (see under part-writing)

Wagenseil, Georg Christoph 7,11, 125 Wanhal, Johann Baptist 8 Weigel, [Joseph (Franz)] 6 Weigl, [Joseph or Thaddaus - brothers] 8 wind instruments (see under instruments) Winckelmann, Johann Joachim 5 words 132, 180 (see also poetry and text) Wiirttemburg court 1, 2-3, 5, 9 (see also Stuttgart)

Documents

The Musical Dilettante